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. 

An Ideal Husband, MTC, Playhouse Theatre at Arts Centre Melbourne, Tuesday July 24th 2018

An Ideal Husband, MTC, Playhouse Theatre at Arts Centre Melbourne, Tuesday July 24th 2018

"An Ideal Husband" was presented by the Melbourne Theatre Company at the Playhouse Theatre,  Arts Centre Melbourne on Tuesday June 24th 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.

"An Ideal Husband" by Oscar Wilde has a cast with varying degrees of skill and expertise.  The production soars when they are faithful to the period and the comedy of manners.

The highlights included performances by Simon Gleeson as Sir Robert Chiltern, Brent Hill as Lord Goring, William McInnes as The Earl of Caversham and Gina Riley as Lady Markby for their consistent portrayal of characters.

Christie Whelan-Brown gave a commendable performance as the conniving Mrs Cheevely.  I thought she could have paid more attention to the etiquette and body language of the era.

The other woman clomped around in their dresses and need coaching of how to wear period costumes.

Zindzi Okenya improved as she warmed up after interval.  Though, she needs to be taught how to walk rather than stomp around in her dress.

Jospeh Lai as Namjac provided an exotic edge to his characterisation revealing his long hair.  Playing different roles provided us with a glimpse of his versatility.  I particularly liked his physical differentiation of each role, and look forward to seeing more of his work.

Josh Price provided us with some gems for his characterisations playing Mason, Mr Montford and Phipps.  He physically and vocally created differences.  He is someone to watch.

The acting varied from over-acting to posturing.

Simon Gleeson provided the consistency, sincerity and truth to his character, Sir Robert Chiltern.  He showed us an emotional depth to his character and reason for his every move, entrance and exit.

Brent Hill was sensational as Lord Goring in capturing the period.  His posturing was jarring at times, and required purposeful flow to create his period poses.  Some of the exchanges were so choreographed that spontaneity was lost.  We witnessed masterful comedic timing when listening between him and other characters, rather than orchestrated reactions.  (Make sure you see Brent Hill in "School of Rock" to see more of his fine acting skills.)

William McInnes as The Earl of Caversham demanded our attention with his booming resonance.  The father and son interactions, between William McInnes and Brent Hill, fed off each other by holistically listening to each other, and, heightening our enjoyment.  More of these "in the moment" exchanges were needed to heighten the stakes between characters.

Gina Riley, as Lady Markby, acted with poise and style.  Her vocal agility and plummy accent was sublime.  Her walk and use of her costume was of the period.  Gina Riley created distancing stances with commanding poise, reserve and purpose.

The Miss Mabel Chiltern character played by Michelle Lim Davidson lacked the crispness of  a Received Pronunciation accent and was hammy in her interactions with Lord Goring.  Let me say - overacted, rather than stylised.

I found the casting of Michelle Lim Davidson as Sir Robert Chiltern's sister, Miss Mabel Chiltern to be disconcerting.  Had they changed a line to say she was the "step-sister" or the "adopted sister" of Sir Robert Chiltern: then I could accept this.  If both actors were of the same ethnicity then I could understand the casting, but I found this casting reverse racism.  They may call it diversity, but others I spoke to had the same reaction.

My initial reaction to the show was the following:

"If a Caucasian was cast as a black, Asian or other ethnicity it would be deemed racist.  How can an Asian actress/actor be a brother to a Caucasian Sir Robert Chiltern?  If both actors were Asian I could suspend believes, OR if they changed ONE LINE to say "My adopted or step-sister" then it would give some credibility to the story.  The actors need lessons in how to walk in the dresses rather than clomping and stomping around the stage.  Best part was Simon Gleeson, Brent Hill and Gina Riley."

"An Ideal Husband" directed by Dean Bryant was a fun production that did not drag using slick scene changes performed by the servants.  Some of the voice projection was uneven.  More attention to historical etiquette could have provided a less contemporary physicality to some interactions.

Set and Costume Designs by Dale Ferguson captured the atmosphere of the play and provided some wonderful opportunities for entrances, exits and staging.  The staging co-existed with the lighting and direction particularly in the first act.  The lurking shadows around the curtains were a wonderful visual prologue to what would eventuate in the play.

Composer and Sound Designer, Mathew Frank provided atmospheric depth to the production.  Some of the background sound was particularly subtle, allowing us to recognise sounds without becoming intrusive.  The sound or music ramped up the volume to add an aural segue during the scene changes.

Lighting Design by Matt Scott provided an integrated design with Dale Ferguson's designs.

"An Ideal Husband" has a scene that may well be the inspiration for the famous scene from "A Gentleman's Guide to Love and Murder" - "I've decided to marry you".  If you have not bought tickets for this musical; then do so as it is a fun companion piece to "An Ideal Husband".

Simon Gleeson and Gina Riley provided the most realistically Oscar Wilde interpretations.

Overall, this was a fun night with some patchy acting at times.

This production of "An Ideal Husband" obtained a 7.5/10.

7 Pleasures, Mette Ingvartsen, Playhouse Theatre, Arts Centre Melbourne for the Melbourne Festival, Thursday October 19th 2017

"7 Pleasures", for the Melbourne Festival at the Playhouse Theatre, Arts Centre Melbourne, Thursday October 19th 2017

"7 Pleasures" was presented by Mette Ingvartsen for the Melbourne Festival at the Playhouse Theatre, Arts Centre Melbourne, on Thursday October 19th 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.

"7 Pleasures" was presented by Mette Ingvartsen for the Melbourne Festival at the Playhouse Theatre, Arts Centre Melbourne, on Thursday October 19th 2017.

The seven pleasures could be related to the Laban eight basic efforts of Press, Thrust, Wring, Slash, Glide, Dab, Float, and Flick.   There could be the underlying rhythms or aspects of effort involved.

Alternatively the seven dance movements: plie to bend, releve to rise, etendre (tende) to stretch, saute to spring, glise to glide, elance to dart, tourne to turn were also apparent throughout the piece.  An eighth is battu to beat.

The seven pleasures could be your seven favourite aspects and what you see in the piece.  It could be your seven fetishes or indulgences.

I could see many people comparing this show to the most obvious seven deadly sins, and that would be another perspective to this work.

This work is very clever as you can see it from so many different perspectives: the seven virtues, seven deadly sins, and some will laugh and say you could even see the seven dwarfs.  That is the beauty of the Melbourne Festival  as it opens us to discussion and challenges us.  For these reasons, this show, "7 Pleasures" is pure Melbourne Festival fare at its best.

Waiting in the foyer I noticed people appearing from a corridor wearing casual clothes,  They were obviously some of the dancers,  and they could have mingled more in the crowd and not been so prominent standing in small groups.  Also some should have been wearing more formal attire or suits to actually surprise and challenge us when the big reveals occurred.

The house lights were still alighted when gradually some of the dancers pretending to be audience members would begin to undress.  They were the dancers.  Some were seated and a few stood in the aisles.  We had a guy in our row and one seated in front of us who began to undress.  They moved to the stage and formed a group overlapping on top of other dancers upstage right.  A lady behind us stood and took off her jacket to the surprise of her friends and received a welcome laugh.  Imagine if someone from the audience did join in?!

There were three distinct parts to the show.  The first had the dancers stripped and then formed a unit and moved as one across the stage, over the settee, under and over the table.  They proceeded to merge with a lady who was sprawled out over the lone black lounge chair.

The first section was a discovery of self and others as the dancers mainly had their eyes closed.  They were like new born babies discovering their bodies and adjusting to their new environment.

There was an extended section where the dancers were dabbing, rubbing and patting each other.   At times it was very blokey and sporty as if in the showers after a football game, using congratulatory slaps and pats of encouragement.  In some ways it reminded me of the kindergarten song about how each body part is joined together in "Dem Bones".

The contact work requires enormous trust and relaxation to be able to support another person.  Any tension can be disastrous.

Another phrase had the dancers all rolling back and forth across each other.

A phallic shaped cactus sat just off centre stage to the downstage right.  A woman licked the cactus leaves as if exploring her taste bud sensations.  It looked quite dangerous as the leaves appeared to be quite sharp.  Later a man repeated the licking of the leaves which is both the kinaesthetic and taste sensation.

The group all disbanded and went their separate ways.  One went to the back beaded curtain, another on a thick rubbery looking mat, another to the cactus, others to chairs.  Each was finding their individuality and expression.  The lady explored the mat's surface by stretching out and then rolled herself into the mat as if a caterpillar was forming a cocoon for a beautiful butterfly to emerge.

There was a section with metal cooking bowls.  Tapping and being used in so many creative ways.

A section included more ecstatic movements that culminated in a build up to a release or orgasmic conclusion.  No sexual penetration as it was tantric in their bouncing up and down on the spot.

The second section where the lights dimmed represented the after glow or the "little death" (la petite mort) with sensual activities of rest, relief or satisfaction.  This was genteel, caring and sensual. The lighting of a post-coital-cigarette action (as per the classic movies) was missing.  Cleansing a body by one couple was included which also drew strong links of love and mortality when washing a dead body.  Each dancer had their own actions and gestures during this contemplative section.

Two orange ropes hung from the lighting-rig-beams above and counter balanced each other.  A dancer was pulling on the end of one orange rope and a light came on at the other end of the orange rope.  It turned out that there were lights at the ends of the ropes and it could be the inner afterglow of sexual activities as a "light bulb" moment of an orgasm.  On stage right the long haired man was using his mouth to engage with the ropes and tying it around his neck.  Someone behind me groaned in recognition of his simulated auto-erotica-asphyxiation.

Silver balls were placed on dancers' backs as they arched and rounded their backs to allow the silver ball to trace their spine.  They were balancing the silver ball and not allowing it to fall off their backs.  They were like pin ball machines and rewarded for their achievement.

There was a section that I called "Prowess" where each dancer was using an object to show they had the biggest or best accoutrements.  The young man used a long black tube that could be demonstrating length.  Another was using a chair, while someone else was using cushions to boost their sexual advantage.

There was a section that replicated masturbation or self pleasure.  It was very indulgent with each dancer using a technique individual to their character's needs and desires.  Images of rope pulling simulated masturbation.  While the tug-of-war duo simulated mutual masturbation.

Some of the dancers stripped off items of clothing as others put these items of clothing on as if second hand clothes.

This was the only section where I remembered actual groping of breasts.

There was a moment when some of those wearing black would pull down their pants and expose themselves.  One guy looked between a woman's legs as her pants and underwear had been pulled down.  He was peeping through her legs that framed the action of other dancers.  There was so much action happening and too many places on stage to watch.  Sadly, I missed how the lady who had been tied to the underside of the table had been released.

Parts of this section were quite brutal when they used cushions to smother another dancer or catch them.

There was a section where the dancers were engaged, pulsating or writhing with objects.  Sometimes it was very funny.  Other times it was inventive and held our curiosity. It could be simulated sex or even new and possible fetishes. As per the title, we do not know what are your personal seven pleasures?

The final section had half the ensemble put on black clothes.  It was very discriminating and excluding as the naked people were outcasts as they were relegated to the the large settee and showed us their bums.  The final section of wearing black involved six bodies laying over the top of the settee as they were observed by those wearing black.  Those showing their bums was punishment as if they were on display and showing their wares to be auctioned off in the slave trade or as meat in a butcher's shop.  Those in black stood and observed as if keeping guard.  It could be the pleasure of denial.

Dancers swapping clothes was simulating cross dressing and it could mean many other things.  The changing of clothes could be submission and an order to  dress in a particular way to be accepted. It could have been the uniform - as Melbournians wear a lot of black!

The final section involved the cast creating a robot or machine with sounds.  The sounds included the mmm of pleasure and the oohs and aahs with the orgasmic type squeal of satisfaction.  The lady who made the squeal sound moved into the audience as the ensemble holding cushions and other items stood in a row across the stage.  The lady climbed over the seats in the audience.  I was prepared to repeat the sound "nuh" if needed. Thankfully this was not required.

These sounds were harmonious and showed satisfaction and appreciation.  The sounds were animalistic revealing that humans too are animals and have sexual needs.  These sounds were of communication and mutual respect to identify and direct your attention.

Enthusiastic applause followed as half the cast were still in their birthday suits.

Sir Robert Helpmann had famously said about body parts "The trouble with nude dancing is that not everything stops when the music stops."  He was so right with the men in particular with the "top dog" or "alpha male" standing on a large black box vigorously moving and his manhood on display.  This alpha male received a lot of audience attention!

After the house lights came on a gentleman called out "The next performance is in Saudi Arabia" and someone responded "Very funny!"

"7 Pleasures" was not for everyone as one person left after about forty minutes and then about eight people left the show at about the one hour mark.

"7 Pleasures" is a challenging work as it makes you think.  The work could be divided into the three sections of birth, death and rebirth.  The birth was simulated via the entry under the table, or over the table as in a caesarean birth.   The second section was like a rest with la petite mort.  While the last section was a rebirth and remaking of the society which drew parallels to fascist regimes such as Hitler as they wore the black uniforms.

The show could also be perceived as the seven days of creation from Genesis.  The following is a very rough example of the Genesis perception.  Day one: the house lights were on and then they dimmed as the dancers took their position upstage right. Day two:  the dancers went their separate ways to discover their senses. Day three: they gathered together (maybe in an orgy).  Day four: dividing the day from night with the use of the hanging lights section.  Day five: creation of different creatures. Also the monsters were created in the guise of the dancers in black appearing menacing.  Day six:  Be fruitful and multiply.   Day seven: a day of rest as the ensemble chanted and approached the audience ceremoniously.

Yes there could be many different, or some say, ridiculous interpretations.  The seven dwarfs of menopause could be another interpretation.  Whatever is your preferred interpretation the show stretches your thinking into new possibilities.  This show opens up discussion.

At first we felt a bit cheated as the show began at about 7.42 pm and finished at about 9.07 pm.  However, if you factor in the pre-show announcement when waiting in the foyer, this may have been the beginning of the performance with the dancers coming through and going to the toilets.  If so, then this makes it the advertised one hour and forty minutes.

There are so many wonderful memories about this show that I wrote words to remind me of different moments.

The  power of suggestion, the simulated sex was very graphic and in some ways was more confronting than pornography.  Do not get me wrong as the extreme puritans and even those opposed to pornography, who have not seen enough porn to judge my comments or assessment need to open their eyes.  I am not suggesting that this show is pornographic but opens up discussion of how society is exposed to so many suggestive possibilities and to subliminal messages in the media, advertising and literature.  It got me thinking how we sexualise society from such a young age.

I wish someone would elaborate on my offerings and different perspectives, as analysis of this show would make a great thesis for a dance or theatre student.  (If you do, please at least have the courtesy to quote this source!)

I would love to know the process of how they created and rehearsed this work.  How do you rehearse an understudy or replacement cast member?  I am fascinated by the process.  The cast must have some amazing stories about the reactions of different audiences from around the world.  Curiously, I would love to hear more of these funny, weird and different stories from the cast and crew.

This is a wonderful example of a festival show to challenge, and, potentially, divide audiences.

I could easily see this show again as I am in awe at their physical strength and stamina that was sadly lacking in another dance work at this 2017 Melbourne Festival.

"7 Pleasures" obtained an 8/10.

"Germinal" is a great companion piece to "7 Pleasures" from the Genesis perspective.

Backbone, Gravity and Other Myths, Melbourne Festival, Playhouse Theatre, Arts Centre Melbourne, Wednesday October 4th 2017

"Backbone", Gravity and Other Myths for the Melbourne Festival at the Playhouse Theatre, Arts Centre Melbourne, Wednesday October 4th 2017

"Backbone" a physical theatre production by Gravity and Other Myths for the Melbourne Festival previewed at the Playhouse Theatre, Arts Centre Melbourne, on Wednesday October 4th 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.

"Backbone" a physical theatre production by Gravity and Other Myths for the Melbourne Festival previewed at the Playhouse Theatre, Arts Centre Melbourne, on Wednesday October 4th 2017.

In all of the festivals, since the original in 1986, no show has ever started on time.  The show began about eight minutes late.  Given the Melbourne Festival is our major event on our theatre calendar eight minutes was a respectable time to wait for such a great show.  We were aware some audience members may have been running from the opening ceremony "Tanderrum" at Federation Square.

I did not realise that this performance was a preview until my partner repeated the pre-show announcement.  I validated this in our booklet when we returned home.  I do not like previews normally and this show was very slick.

I was impressed with an Arts Centre Melbourne usher who approached a lady to suggest that she places her backpack in the cloakroom.  Well done to this proactive usher (a young lady) who saved the patron the angst of being turned around upon entry to the theatre.

The theatre is our temple to escape, so readers will know that I do not oblige mobile phone, photos or social media to disturb a performance.  We pay big money to see shows.  In fact we are seeing 18 shows this 2017 Melbourne Festival.

The programme is available online and should have been available before entry to theatre as it is too dark to read inside the Playhouse Theatre.  I went up to an usher and requested one prior to entry.  I have written about this in my reviews and evaluation of the festival and it should be addressed.  The theatre is a holistic experience.  Repeating John Truscott would turn in his grave that the holistic experience of attending the Arts Centre Melbourne is not being adhered to!  Well John I am speaking up on your behalf!

Sadly the programme does not show these fine performers.  Do take the time to seek out these superb performers' biographies via their website under "About/The Company".

A mobile phone was being used three times and I had to say something as it was disturbing my vision and the light was dangerous for the performers.  The gentleman kindly obliged and looked a little edgy in doing so.  The lady with him consoled him.  I am so glad as they needed to trust that all would be okay.  To be continued....

The black safety curtain rose to reveal twelve bodies lying in various vertical and horizontal formations.  A row of long poles lay down as if bamboo rods to be either a musical glockenspiel or for physical antics.  Rocks lay around the space with a clothes rack full of potential costumes on the upper stage left.. A raised dais with what looked like a few instruments was centrally located on stage right.  A bank of lights was in front of this raised dais.  A bank of  mirrors hung from one of the lighting beams above.

Stillness!  The cast displayed confident and assured stillness.  They continued for at least about a minute.  They were breathing as one.  They were preparing the audience for the feast that was to come.  Good things are worth waiting for!  Then, the ensemble rose and prepared themselves in various ways: stripping, re-clothing, stretches, preparing, testing equipment and showing rehearsal type antics.  This reminded me of a show that we saw at the Joyce Theater in New York in 2014 by "Pilobolus" with a mixed programme of their old and new works.

I have seen a lot of circus and physical theatre in my lifetime.  This show had some of the most creative ensemble work that I have ever seen.  The choreography was inventive, clever, funny at times and also hair raising.  I have not heard an audience applaud so much during a show for a long time.  This group had us holding our breath in anticipation and expectation.

The knight outfit was used on a few occasions and forward rolls over a rope has been given a new meaning.  The consequences of counting and "involuntarily volunteering" has a  stomach churning "ouch" effect that will never be the same.  I bet you will hold your stomach at some point.

Buckets of fine rocks or sand are spread to cover the stage, which acts on many levels to create friction, and is used to create patterns and segues between sections.  I adored the labyrinth drawn by clearing the sand with the buckets.

A young lady presented a large stone to a couple in the audience.  The lights shone on them at times - as if they were a part of the cairn of stones.  Later she retrieved the stone and performed the most amazing routine that warrants more detail.  In doing so, I would spoil the journey.

The ensemble teased us with their antics but rarely broke the fourth wall.  Their concentration levels were telepathic.  More so, they used buckets to cover their heads and perform more skillful antics. The bucket covered performers traversed the labyrinth drawn in the sand.

The theme of 'strength" is central to the show.  There are so many aspects of strength - mental, physical, team, social, resilience and the list goes on.  The opening image of the bodies on the ground showed the interconnection between individuals.  Synergy is paramount.  These superb artists are like Olympian athletes with their skill, grace and artistry.

Occasionally sand or rocks are poured over an individual.  I bet I would be physically squirming or vocally reacting to such action.  This is a modern version of the "ice bucket challenge".  There is another sequence where a man is harassed by all of the remaining cast who try to divert his attention.  His concentration level and determination is uplifting and awe inspiring.  I cannot rave enough about this fine cast.

There may have been three small slips but this heightened our appreciation and kept their human skills' real for us.  I was so pleased that they did not do the "three tries for any trick" to get it right the third attempt.  They seamlessly picked up and supported each other if any lapse occured.  In doing so, they held my attention more.  The care and looking out for each is what the world needs.

There are so many skills employed that I am trying to recall each to give them credence.  The balancing poles sequence went on for eternity and heightened our appreciation.  There is balancing handstands, hand-to-hand displays, tumbling, acrobatics and an aerial-human-trapeze using bodies as the supports for the trapeze artist.  A lady is suspended by several poles, she is teased with the changing of the poles' positions until she is suspended by one pole.   One pole! OUCH! Sheer magic.

There were fantastic and interesting segues between various acts of acrobatics, tumbling, balancing on heads, scaling heights, and break dancing moves that make Michael Jackson look like an amateur.  The list goes on.  Each section challenged us with variations on the theme of strength.  Even to the bitter (oh so sweet) ending did they challenge each other with their determined stance.  What a curtain call - the audience kept clapping and cheering.  We rose out of our seats to give this performance a thunderous ovation.

The costumes were functional and thankfully not like the over-produced costumes of some circus troupes.  I do not like "Sluice fashion". (It is a definition that my circus friends in Las Vegas understand what the acronym means!)   Put it this way,  I cannot stand the cut off jean look with threads hanging down, plus any loose thread could cause havoc.  I want these performers to be safe.

The music rose and fell to accentuate and support the performers.  The two musicians provided various rhythms that created various atmospheres and emotions to draw our focus to the performers, and, to keep us on the edge our seats when required.

No one performer is a star.  They are all genuine stars.  They are a universe of stars creating a galaxy of joy.  I do hope that they make a DVD of this show to support their work - similar to how Pilobolus made a DVD of "Shadowland".

The company, Gravity and Other Myths is the closest I have seen to the work of "Pilobolus" - let alone an Australian company.  It is not gimmicky but has a genuine heart and soul and it shows in the trust of the performers who worked as one.

Remember the gentleman who I asked to turn off his mobile phone?  He turned to me after the house lights came on and apologised to me.  I appreciated this as the light was so distracting.  He was extremely gracious and was excited to know what I thought of the show.   His apology was another example of the "strength" theme.  He showed the ability of internal strength and taking personal responsibility for his actions, and to allow this group to perform on their own merits.  He trusted them and it showed - as they delivered.

This is one of the strongest opening shows that I have ever seen at the Melbourne Festival  in 31 years.  I confirmed in the festival brochure that this performance was a preview.  I did not care - it was so good.  No - BRILLIANT.  Thank you and congratulations.

"Backbone" obtained a 9/10 while my partner who detests circus shows gave it a very high 7.5/10.

The Light In The Piazza, Life Like Company, Playhouse Theatre, Arts Centre Melbourne, Friday November 4th 2016

The Light In The Piazza, Life Like Company, Playhouse Theatre, Arts Centre Melbourne, Friday November 4th 2016

"The Light In The Piazza" was presented by Life Like Company at the Playhouse Theatre, Arts Centre Melbourne on Friday November 4th 2016

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

The pre-show announcement was in Italian and was fun but with a serious message for patrons to show restraint and respect. Thankfully no mobile phone distractions occurred during the show - which is sadly a rare event.

"The Light In The Piazza" had great singing, acting and costumes.  The relationships between the characters seemed connected and the actors seemed to be listening to affect each other.  These fine performers transported us on a journey of intrigue, hope, and love.

The opening and closing tableau were strong by capturing each character's essence and their intertwining relationships.

Set Design by Tom Willis was simple and effective with the raised stage, paintings and a few movable set pieces.  However, a ramp or two could have been incorporated to make a more seamless production.  The use of the paintings flying in and out created an instant image of Italy.

The staging was fair, though it was a bit clunky at times due to the raised central area.  For example, the flow was broken when the pram or bicycle had to lifted on and off the raised area.  The raised stairway was also a bit problematic.

Lighting Design also by Tom Willis varied in the qualities of the various atmospheres and sense of locations.  It needed more finesse or sharpness to define locations.  There were some lost opportunities to melt into the next scene in accord with the sumptuous score.

The best aspect of the lighting showed the development of the story from Clara's innocence to the confusion of when she loses her way.  It was as if the lighting was showing us her neurological pathways and confusion.

Some of the set/scene changes were very clunky from a stage management perspective and needed to flow more with the quality of the score.  We needed to be swept away from scene to scene - rather than be jolted around like a turbulent flight.

Sadly the cross was not in the final scene corresponding to an earlier scene in the church.  I appreciate we saw a different perspective of the church, but it would have given the scene a visual polish.

Director, Theresa Borg has amassed an amazing cast and honoured this beautiful score by Craig Lucas and Adam Guetel   Theresa Borg has created a a realistic version of this at-times-heart-wrenching story.  The relationships with each of the characters seemed honest and real compared with another production of this musical.

Musical Director, Vanessa Scammell has soared with the cast's magnificent singing and luscious harmonies.

Chelsea Plumley is too visually too young for the role of the mother, Margaret Johnson.  Take that as a compliment as she is a tour de force in creating a believable character with her sumptuous and strong singing and honesty in her acting.  Chelsea Plumley was terrific and showed enormous restraint in not revealing her daughter Clara's impairment.  She could have played the mother as obsessively caring, but instead gave us a richly concerned character of depth.

Genevieve Kingsford's Clara was sensational, as she played the daughter exquisitely with her restraint and hints of impairment.  She gave us a beautifully considered performance with a lovely range of texture in her emotions - including innocence, determination, wonderment and exploration.

Jonathon Hickey as Fabrizio Naccarelli was also sensational as masculinity personified as this quintessential romantic Italian.  What a voice!  What an actor!  I cannot wait to see him again.

Josh Piterman as the sparring husband Giuseppe Nacarelli was also terrific.  So much great talent.  He was especially effective in his sparring scenes with his wife Franca Nacarelli played by Madison Green.   The Octet in Act Two is a highlight and contained the requisite tensions between each character.

There were some sound issues in the opening as Chelsea Plumley's levels were wrong and it took at least one minute to correct the balance.  With such a short season they are rushed to technically perfect their shows.

Roy Johnston the husband of Margaret was played ably by the ever reliable Jeremy Stamford.  Him dragging the golf clubs on as a prop were a bit much as the Argyle jumper would have sufficed and given us enough of a hint for the father's phone call scene.

Great timing was displayed in the first international phone call between Margaret Johnson and her husband, Roy.  They created us with a little light relief in the time lapses that further added to the drama of the story.

Costumes by Kim Bishop paid tribute to the 1950's elegance with his stylish designs.  Wigs and Hair Design by Corrine Day showcased her inimitable talent.

I particularly liked the haunting historical figures as if they were ghosts overseeing proceedings or as caretakers of the story.

Choreography by Jo-Anne Robinson was not as forced as in another production.  Her choreography melted into the show without being an add-on distraction.

Life Like Company have a reputation for showcasing excellent talent and great shows and I look forward to seeing more of their work in the future.

Singing wise this is my favourite production of the year.  Sadly some of the staging reflected in my overall rating of this production.

This is easily one of the musical highlights for 2016.

Overall "The Light In The Piazza"  obtained a 8/10.

PS  I wrote this review on December 21st from my notes and sadly cannot elaborate more on some of the other sensational performances.  

Triptyque, Les 7 Doigts De La Main, Melbourne Festival, Playhouse Theatre, Arts Centre Melbourne, Saturday October 8th 2016

Triptyque, Les 7 Doigts De La Main, Melbourne Festival, Playhouse Theatre, Arts Centre Melbourne, Saturday October 8th 2016

"Triptyque", a trio of works was performed by the Les 7 Doigts De La Main company from Montreal, Canada for the Melbourne Festival at the Playhouse Theatre, Arts Centre Melbourne on Saturday October 8th 2016

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

The Melbourne Festival brochure advertised the show as One hour and thirty minutes without an interval.  Then I received an email stating "Triptyque runs for 2 hours, with intervals."  The programmes stated it was "Duration: 2 with two intervals."  For the historical records - the performance ran about two hours and ten minutes with one interval and a pause.

The show started within one minute of scheduled time.  Whew two shows in a row starting nearly on time.  This is a record.

"Triptyque" comprised three works: "Anne and Samuel",  "Variations 9.81" and "Nocturnes".

I have seen Les 7 Doigts De La Main before and recognised at least two of the performers.  

The first work "Anne and Samuel" was choreographed and staged by Marie Chouinard.  The stage was a slightly raised deck bordered with crumpled brown paper around the perimeter.

Sarah Harton hung via red straps from a beam.  A pair of crutches was down stage.  Samuel Tetreault enters on crutches and proceeds to Sarah Harton suspended in space.  He dances by releasing her from the harness of red straps.  He then nudges, coaxes and pushes her into position to reach for her crutches.  She comes alive.

The pas de deux between the two performers was more of a pas de trois with the clever use of the crutches.  At times the crutches became additional limbs and other times were an extension of their limbs.  Sometimes the extension was for the other performer's limbs and incredible skill, agility and trust were required between the two.

A section had Samuel Tetreault close his eyes and appears blind.  His physical sensations are heightened and our attention to the duo is enhanced as we anticipate any false moves.

The sound-effects of walking on the crumpled paper were terrifically well timed as it merged with the real sound of walking.  As the man first walked along the paper border we suddenly were surprised and realised that he could indeed walk.  

The final section of this first piece comprised Sarah Harton wrapped around Samuel Tetreault's body. It was so erotic as they are face to face.  Legs splaying and developpes and port de bras are performed in this position..  Her hands and legs are freed from the ground as she balances.  His arms are seen and then all of a sudden they start to spin.  How did he do that?  I looked at his feet as they kept rotating and I enjoyed the surprise - he was sitting on top of a small revolve hidden by the crumpled brown paper.  They turned slowly to tease us.  Gradually they turned faster and faster.  It was orgasmic. 


The second work,  "Variations 9.81" began after about five minutes to reset the stage.  They started with two white clowns and a broom chasing a spotlight.  It set the mood for a circus introduction.

There was an extended pause before the curtain was raised.  We knew why when the curtain was raised.  Five performers were upside down in hand-stands on balance beams.  Wow - the skill and strength to maintain these positions for so long is admirable;  let alone perform what was to come.

They mainly performed acrobatic and strength balancing work.  The power and strength was incredible. This was about twenty minutes long and better than some of the similar acts that I have seen in larger circuses.  I really appreciated the simplicity of the staging without all of the bells and whistles of ridiculous makeup and inane colourful clown costumes.

After an interval, was the third work "Nocturnes" choreographed and staging by Marcos Morau, Isabelle Chasse and Samuel Tetreault.

A lady was watching television seated on her bed.  Under the bed was blackness and I knew that she would either sink into it or that something was underneath the bed.  Well the sheet moved slightly and I thought someone was behind the bed.  No: there were five dancers under the bed who all came out.

A man stood on stage left.  He was like her dream.  The blur of reality and fantasy or dream had begun.  This third piece provided lots of opportunities to experiment with the illusion of dreams and reality.

A bed was raised by four wires and swung around the stage. It was a bit like "Chitty Chitty Bang" with the flying car or "Aladdin the musical" with the sets carpet.

At one stage a man was hanging underneath the bed,  As the bed swung low the other performers would slide under the bed with near misses.  This was a great variation on other similar acts.

The rope climbing sequence began by a man, and then a lady appeared on another rope.  A lady enters and has the lady step onto her shoulders from her rope.  The lady walks balancing the lady on her shoulders and presents her to the man on the other rope.  They perform a mesmerising duet on the rope.  Three ropes are used with performers on the ropes. The two ladies are up high and the three ropes and stretched out by the other performers who tie then into a knot.  One lady on stage left stretched to counter-weight and balance the rope.  A man pulls a rope taut on stage left.  Downstage right three performers pull the rope taut to create a tight rope.  The two ladies sit perched above the central knot gripping one hand.  One releases the other lady when she has her balance and she proceeds to walk a fairly tight but slack rope.  This great effect demonstrated their teamwork and trust.

The bed was raised.  The man slid down the sheet like a silk routine to escape back to earth.

A unicycle was lowered from the flies.  He also received a white French legionnaire's hat.  He rode the unicycle with such skill using both feet to pedal or at times would pedal with one foot. Other times he pedalled on the wheel itself.  He held the unicycle and juggled it as if the unicycle was upside down in his hands with great skill, dexterity and timing.  The juggling of the unicycle was a simple trick that I have not seen before.

Lamp flickered to create a change of realities and to prepare us for the next magical sequence.

A translucent ball was presented to the curly haired man. who demonstrated a routine of levitation and juggling of balls.  He would be assisted by two ladies who also provided lots of distractions.

The bed becomes a hospital bed with a drip.  Two performers became nurses.  The others joined in to take pulse or check various body parts.  It was funny watching one guy check the pulse of his foot.

Distraction techniques were used by having a duet dance downstage while the new setups were prepared for the various pieces of equipment: harnesses for the bed, ropes or sling.

The upright bed scene with hands coming through was nearly a copy of "Poppy" by Graeme Murphy for Sydney Dance Company.  (Note that "Two Dogs" also used a standing up bed joke in their show when he stood up from laying down explaining it was easier if the bed was upright.)  Also "Beauty and the Beast" film by Jean Cocteau last night used the arms holding the candles etc.  You can see what an influence Jean Cocteau had on the arts with "Thing" from "The Addams Family", Tracey in her upright bed in "Hairspray - the musical" etc)

Overall I gave this an 8/10 while my partner gave it a 7/10 as he does not like circus type acts and was expecting more contemporary dance.

887, Ex Machina, Robert LePage, Playhouse, Arts Centre Melbourne, Melbourne Festival, Thursday October 20th 2016

887, Ex Machina, Robert LePage, Playhouse, Arts Centre Melbourne, Melbourne Festival, Thursday October 20th 2016

"887" created by Ex Machina and Robert LePage played at the Playhouse, Arts Centre Melbourne, for the Melbourne Festival on Thursday October 20th 2016.

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

"887" is devised by Ex Machina and Robert LePage is a journey of memory, reminiscence, forgetting and hope.

The show started about seven minutes late.    Robert LePage took centre stage and introduced himself and made a personal plea to turn of mobile phones and other devices.  I was so relieved as the man two seats in front of me had his phone ready with a detailed sequence of messages ready for his reply. Thankfully he succumbed to Robert's plea and turned off his phone.

The woman next to me must have yawned about 20-30 times and did not stop jiggling in her seat as if she had restless leg syndrome.  She also hogged her seat and tried to invade my space with her legs, arms and coat.  It was distracting but I was not going to bite!  She was not going to spoil this show.

Thankfully this woman made the experience even more memorable by her movements and antics.

I am writing this in November and still savouring the memories from my notes.

The show had so many levels of memory included: childhood memories, recollections of watching his grandmother's memory fade into Alzheimer's Disease and the thread of Robert Le Page trying to learn a poem for a presentation.

Set design is a collaborative effort with a team of artists, directors, and a dramaturg. There are so many people who designed this show due to the numerous elements within. There is the physical set of a model of his apartment building that unfolds to reveal other locations or rooms. There is the visual imagery, the co-ordination of the props and puppetry, in addition to the logistics of the camera work.  All I can say - the design of this production is massive and brilliant with seamless transitions and minimal interruptions to the flow of the story.  It is an ensemble production even though it appears as a solo show.

Many gimmicks are used in the sets and props.  However they keep our interest and our focus on the story.  Some of the gimmicks used included props that would travel across the stage such as cars, a long table with a parade, cameras, boots etc.  The television screen came alive.  Leaves fell.  The shadow of a young girl behind a curtain disappeared and was similar to how the shadow disappeared in "The Echo of the Shadow".

I loved how Robert's shadow stayed at the lectern and then a shadow of his father appeared.  The emotional bond was made so real with such a simple device.  Robert stepped into this shadow as if into his shoes.

The cameras provided various perspectives was not a new theatrical, but was used very effectively. Robert used the camera to introduce us to various boxes.  He showed us a dolls house size version of his apartment from many angles including close-ups from the camera.  We even saw a close-up of Robert peering inside through the French double doors.  This reminded me of "Alice in Wonderland" or "The Land of the Giants" television show from the 1960's.

Running parallel was the history of French Canada and Quebec.

A pair of boots travelled across the stage.  Robert was delivering newspapers and the camera watched his approach.  We saw the perspective of looking between the militia boots up to a young man who dropped his newspapers.  The camera was used so cinematic-ally and captured the differences in authority, stature and respect.  Instead of looking down at the young Robert the camera was looking up to him for his stance - as if revealing his fear but allowing us to admire his courage.

Technically "887" was a brilliant piece of theatre.  More so, it was a beautiful emotional journey that was heart felt and moving.

"887" had great sound quality and superb surtitles.

The music used throughout was haunting.  Watching the red glow of the lit cigarette in the miniature taxi-cab provided us with an insight into his father's life.

The story of why Robert was rejected from a private school was exceptionally moving highlighting the class divide and the ignorance of those who do not ask appropriate questions.

Memory can be evoked through sound, smell, touch, places, people and events.  We can remember things because of our connection to a thing, person, a place or a time.  Robert introduces us to all of these variations with threads to connect the story.  We can struggle with our memories.  Memories can fade and memories can change.

Though  I may not be able to remember all of the details of the story - it does not matter.  Memories come and go.  Enjoy and savour what we can remember of this superb production.

I gave this production a 9/10 and my partner did not like it and gave it a 5/10.

PS I was so thrilled to meet Robert Le Page after we saw "Voces" the following night.  I had to shake his hand and thank him.  He is a pure genius.

PPS: Cameron Woodhead from The Age October 20th 2106 recalls some of the vivid memories from the show including how the fireworks transform into the synapses of his grandmother's Alzheimer disease. Plus he recalls the moment "when Lepage steps into the shoes of his laconic, cab-driver father."  Thank you to Cameron Woodhead for helping this collective memory of this brilliant show.

Double Indemnity, MTC, Playhouse Theatre, Wednesday June 29th 2016

Double Indemnity, MTC, Playhouse Theatre, Wednesday June 29th 2016

"Double Indemnity" written by Tom Holloway and adapted from the book by James M Cain was presented by the Melbourne Theatre Company at the Playhouse Theatre, Arts Centre Melbourne on Wednesday June 29th 2016.

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

"Double Indemnity"  is a great night of entertainment and should tour internationally with its superbly clever three revolving stages that create so many wonderful scenes.  The best part of the scenery is that it lives and is as much an actor as the rest of the cast.  This revolving set also allows for the most incredible transitions between places and actors by having one actor starting a scene before the next ends.  I thought this device was used intelligently and flowed beautifully to seamlessly move us into a new scene, whilst maintaining tension from the previous scene.

The acting by the cast paid homage to the film-noir genre without being hammy or over-acted.  Though some of the accents did drop at times and the intonation was more Australian rather than the driven American intonation.

The ending was a bit of a disappointment but after research was more in keeping with the non-specific ending of the book.  In hindsight our discussion as per many others leaving the theatre outlined the many possible endings within the context shown.

Costumes were magnificently rich and created the genre of "how was it done?" or "how did they or will they get away with the murder?"

Overall this production deserved a 8/10.

Sweet Charity, Playhouse Theatre, Saturday February 28th 2015

Sweet Charity, Playhouse Theatre, Saturday February 28th 2015

"Sweet Charity" with a book by Neil Simon, music by Cy Coleman and lyrics by Dorothy Fields plays a short season at the Playhouse Theatre at the Arts Centre Melbourne.

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.

Overall I loved this production of "Sweet Charity" from the Hayes Theatre Co in Sydney, but I have reservations which I will elaborate upon.

Buying the tickets was easy, as was seat selection.  The price of the tickets was commensurate with the quality of this production.

Upon arrival at the Playhouse Theatre it was great to see the foyer display cases full with posters from  "Sweet Charity."  This is unlike many previous ventures to Playhouse Theatre where these display cases are empty and create the ambience of a post war Prague railway station with their coldness and lack of a sense of occasion.  So congratulations on using these display cases to showcase "Sweet Charity."

The bar was closed upstairs which is such an omission of John Truscott's vision for the Arts Centre Melbourne. As stated in my previous posts, he would be turning in his grave at the lack of service and the lack of occasion.  His vision was for audience members to have a WOW before, during and after the show event.  People were milling around and some wanted a drink both before the show and at interval.

As you walked into the Playhouse Theatre, some of the performers were on stage.  The ladies were teasing the audience and displaying their wares.  Theses dance hall hostesses would encourage a gentleman on to the stage to have a dance. This was a terrific prologue to the show.

It is sad that they did not also use this time to have the ladies warn patrons not to take photos of them for copyright reasons etc.  They could have also used their seductive skills to entice people to turn off their mobile phones and iPADS.  The show had officially started once we walked into this fine cast creating an atmosphere.  "Stop twanking sir!" or "Please stop playing with yourself and dance with me!" or whatever appropriate phrases to embarrass the shit out of these ignorant self absorbed FOMO ("Fear-of-missing-out") social media junkies.

I do not pay $85+ per ticket to watch flashing distractions and hear their vibrating adult toys! Let alone conversations during any show!  The Eagles recently played at Rod Laver Arena and had very explicit signs stating that people may be evicted for such behaviour.  This needs to be the standard.

The programme was a reasonable $15 though it lacked the traditional song list.  I would have liked some of the fabulous publicity photos displayed in the foyer to have been included in the programme. There was an insert with an update of the director and lighting designer's biographies.

From an historical perspective, I wish more programmes actually stated the year of the production.  The flyer for this show did not say 2015 and it is great to be able to verify such information for future theatre historians.

The direction by Dean Bryant gave us a solid production with some superb performances. I particularly liked how he used the smaller cast of 12 to create an ensemble playing multiple characters. The Greek style chorus of the ensemble observing from the sides is reminiscent of Greek drama and a device also used in "Equus" by Peter Shaffer.

Some of the timing was laboured and needs to be tightened with some slowness in picking up cues and entrances.  There were a few line fluffs with the reversal of "him and her" in some of the dialogue in Act Two.

Musical direction by Andrew Worboys provided an up to date electronic sound to "Sweet Charity".   What lacked in brassiness of the orchestra was made up by the sublime singing of the women.

The choreography by Andrew Hallsworth was in a pseudo Bob Fosse style.  Andrew's choreography paid homage to Fosse without being dictated by his style.  I did miss the sharp snaps of the head turns and hip thrusts in "Hey Big Spender" and the angular definition of wrist and elbow displacement.  Andrew created some incredible routines to fill the stage of parquetry flooring.  I felt some of the execution of the choreography was a bit laboured and pedestrian.  My partner commented that it looked like they were walking through their paces a bit as it lacked a crispness and bite to the dance moves.

My favourite piece of choreography was the opening of Act Two with "Rhythm of Life."  I preferred this sequence to the movie which I loved.  But the zaniness of this sequence in the 1969 film is not as confronting as this beige-break-out version.

Costumes by Tim Chappel honoured the 1960s (as I remember it well!)  I would have liked gloves in the "Rhythm of Life" number to be more historically accurate.  The choice of beige colouring in this scene reminded me of the opposite of the women wearing black in "Nine."  The beige costumes gave this song a blandness to break out of and rebel.  Also the beige highlighted the entrance of Charity wearing the shocking and socially-tainted red outfit, which signifies many religious themes.  Compare this to the film version and Charity's black dress blurs into the scene, where-as here with Tim's design we have Charity making a bold statement.

What I find so historically interesting is that this production had the cast shed most, but not all of their clothing during "The Rhythm of Life" which was shocking enough in 1965/66.  This is relevant as it was "Hair" about two years later in 1968 where the cast fully bared their bodies.

The singing, overall was adequate by the ensemble, but when the men joined in for the big numbers the songs sounded flat and lost their vibrancy.  The best singing was by the whole cast of women and Martin Crewes in his various roles.

The set design by Owen Phillips was minimalist and clever. Owen had a signature neon sign, two whiteboards converted with see-through-mirrored-panels, chairs and a chaise lounge.  Simple and so effective to create various locations and atmospheres.

Lighting design by Ross Graham provided great support to the atmospheres and locations.  One continuity flaw was the exit from the elevator. It would have been terrific to see the elevator outline again at the conclusion of the scene and when Oscar walked from the elevator to create a lighting change, rather than the flood lit stage.  I think the lighting designs would have been more suited to the original smaller Hayes Theatre in Sydney rather than the larger Playhouse Theatre.

Sound design by Jeremy Silver was terrific, particularly creating a hallucinatory drowning sequence.  Though the levels for the start of Martin Crewe's Vittorio solo were too loud with his rich full voice.

The book by Neil Simon needed pruning by the lapse in concentration of some audience members who had to fulfil their "Fear-of-missing-out" social media mobile phone itch!  Thankfully one person was sitting near me in her B28 seat and allowed me to request turning off her "twanking" device!  She promptly apologised for her rude and distracting behaviour!


I thought the venue was too large for this production.  It would have suited a smaller theatre but larger than Chapel Off Chapel.  A theatre of about 300 plus like the MTC Sumner Theatre with a seating capacity of about 500 would be perfect for this production.  It was a shame that only about half the Circle was occupied on a Saturday night.  It is more exciting to attend a theatre that is full, for both the performers and the audience. 

Martin Crewes was terrific in the multiple roles of Charlie, Oscar, Vittorio.  Martin provided different characters each with their own physical characteristics, mannerisms and idiosyncrasies.  Each character had a different voice and vocal quality to enhance each character.  As Vittorio, he seemed too loud in the opening of "Too Many Tomorrows" and was on the verge of yelling.

Verity Hunt-Ballard was sublime in the role of Charity Hope Valentine.  She captured the mood of the 1960s with her naivety and her quest for a better life.  Her renditions of each song were fresh and honestly performed with such sincerity and conviction.  I loved her excitement in "If They Could See Me Now" and the pizzazz in her crisp attention to detail in her enthusiastic dance.  She emotionally connected the words to her actions in such a coherent way that was spell binding.

"I'm a Brass Band" was sung with gusto and excitement for her new life.  Verity has a way of engaging the audience into the palm of her hand.  Her performance was so sincere, honest and compelling.  As Michael Chekhov would say - she radiated.

The scene where Charlie and Oscar are trapped on the Ferris Wheel (Wonder Wheel) at Coney Island was changed from the "Parachute Jump" ride.  This made sense as most people instantly recognise the term - Ferris Wheel.  (Note that the "Parachute Jump" is still at Coney Island but has been decommissioned for safety reasons.)

The supporting players were a true ensemble and each created a distinctive character.  Some of the players did not waver in their character's identity.  They did not upstage but truly supported the journey and story of Charity.  Debra Krizak, Kate Cole, Samantha Leigh Daemaide and Rowena Vilar need to be acknowledged for their consistent characterisations.  The plainness and naivety of Francesca O'Donnell's characterisation of Rosie, the new dancer left an indelible mark as she too could easily be trapped in the Fandango Ballroom.

Debra Krizak as Nickie was sublime.  "There's Gotta Be Something Better Than This" was another show stopper performed by Debra Krizak and Kate Cole.  They had me engrossed and sadly Debra was interrupted by the mobile phone distraction from Circle Seat B28.  I was mesmerised by her performance and felt so cheated by the inappropriate "twanking" in the audience.  I long to see you on our Melbourne stages again soon and thought your performance was sheer brilliance.  Your alternate character, Ursula was superb in characterisation, so vocally and physically different to the raw Nickie.

"There's Gotta Be Something Better Than This" reminds me of "If I Could've Been" from "Working" which premiered some 13 years later in 1978.  Both are classical "I want" songs full of longing and desire.  They are both songs of regret, and both balance the fine line of not wanting to live a life of regrets.  To me both of these songs explore the human spirit of resilience and hope.  "There's Gotta Be Something Better Than This" is so good that it is the song that emulates this production.   I repeat I am disgusted at the behaviour of "twankers" who rudely show disrespect to the majesty of these performances.

Staging surprises:  There is a sequence with grapes and if dropped these grapes can be a hazard on any floor, and even more so with dancers and performers.   Debra Krizak's Ursula provided the perfect distraction for Martin to clean up the grape.  Martin Crewes picked it up when our focus was upstage on the sublime rantings of Debra Krizak's Ursula. His timing was sublime and not distracting.

Charity's phrase of "fickle finger of fate" was a reminder of the "flying fickle finger of fate" as used on  Rohan and Martin's "Laugh In" which started in January 1968.  Interestingly they do not acknowledge that this phrase was used in "Sweet Charity" prior to "Laugh In."  I wonder about the religious/atheist connection to the "hand of God" and the "fickle finger of fate."  Is Charity teaching us that some things are within our control and out of control.  Is fate Charity's religion?   The journey for Charity appears to be her self-help-guide.  I would love to know if  the character Charity had any inspiration for Martin Seligman in his positive psychology work, particularly "What You Can Change and What You Can't." 

The other memorable extra surprise was when Charity threw off her hat at the end of "If They Could See Me Now."   Her top hat landed with other costumes on the top of the costume rack.  How often does this occur?  Sheer magic!  These little things make every performance unique and memorable and so special.

I liked the Fairy God Mother character in the final scene which reminded me of the tragedy of fantasy and reality coming together.  It also reminded me of "Angels In America" and the reality and gravity of her own situation finally sitting with Charity.  This Fairy God Mother figure also reminded me of our internal dialogue/conscience. I disagree that this was a feel good ending as the silence and the lone figure of Charity on this vast stage was palpable.  It is a more realistic ending showing Charity has hope and possibilities.

The ending was more thought provoking as it reminded me of "The Nance" in that you could question what happened if he suicided or just faded into oblivion etc.  While in "Sweet Charity" people were questioning as they walked from the theatre: Did she suicide, or was it a nightmare, or like Groundhog Day repeating itself, or another drowning or was she resilient and full of hope and ready to move on?  The drowning analogy is relevant as if she has been re-born, not as a new-born Christian but re-born wiser and more resilient.

The finale curtain calls were too slow.  They also needed a reprise of "Hey Big Spender" and "Rhythm of Life" to have the audience on their feet and joining in with bumps and grinds to make it a fun finish to a good evening.  This would make it even more memorable and fun and allowed people to really savour the juxtaposition of the poignancy of the ending.

I was so impressed with the acting in this production from every cast member.  They captured the essence of the atmosphere of hope and resilience.  Various American accents were convincingly portrayed and they captured the essence of the early 1960s with sincerity. Most important of all was how the whole cast worked as an ensemble to take us on a journey of the human spirit.

This production of "Sweet Charity" honoured the 1965/66 period as I was a child and it captured the loss of innocence and the quest for hope.

Note: Twanking = Is a contraction of Twitter and wanking!  It is the act of "Fear of Missing Out" by continually fidgeting with their mobile phone or iPAD or Tablet.  Twanking also covers those on Facebook and other APPS.  "They are twankers, those who twank and continue twanking!" Twanking is a term devised by my partner P.J.T.

Labels:

Sweet Charity, Playhouse Theatre, Arts Centre Melbourne, Verity Hunt-Ballard, Martin Crewes, Hayes Theatre Co, Dean Bryant, Andrew Hollsworth, Andrew Worboys, Tim Chappel, Debra Krisak, Kate Cole, Samantha Leigh Daemaide, Rowena Vilar, Francesca ODonnell, fear of missing out,  Hey Big Spender