Arbus and West, MTC, Farifax Studio, Arts Centre Melbourne, Tuesday March 5th 2019

Arbus and West, MTC, Farifax Studio, Arts Centre Melbourne, Tuesday March 5th 2019

"Arbus and West" by Stephen Sewell was presented by MTC at the Fairfax Studio, Arts Centre Melbourne on Tuesday March 5th 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.

"Arbus and West" by Stephen Sewell, MTC, is a good piece of speculative theatre, as the playwright imagines what could have happened as these two characters meet.  The play needs some work but is a great first showing.

Broadway actresses will be chaffing at the bit to play these three fabulously rich roles.

Historically, Bob Dylan's "The Times They Are a-Changin'" lyric/quote, from the album of the same name, was only one month old when Diane Arbus says so to Mae West.

Oops, the script needs a slight revision, as Trader Joe's was founded in 1967 in the USA and was not around in November of 1964.

When the stage manager announced a two minute call and then a 30 second call Mae Wesr was preparing for her entrance at her dressing table.  Ruby took her time to a fix Mae's red feather to her hair about 30 seconds after the 30 second call.  

Ruby said her mother was 93 in Act One, and then said she was 92 in Act Two.  MMM?

The relationships between each of the women fires up in different ways that creates tensions.

Without spoiling their entrances some famous men make a special guest appearance!  Many audience members tittered at their entrance and exposition.  Some audience members shrieked in realisation, while others naively contemplated their "back-lit" entrance.

Act Two is funnier than Act One.


In an article by Kerrie O'Brien on the MTC website is a Stephen Sewel quote "They got on like a house on fire... it was a fun event for the two of them but when West finally saw the photos she was appalled and wanted to sue for defamation because Arbus was an artist and she wanted to show the truth!"    Sadly, West's response of being appalled and wanting to sue was lost, if non-existent in the production.  More could have been made of this in Act Two, rather than West dismissing Arbus' death.

The time shifts were mostly effective by the use of the lighting and where the action was focused in Mae West's dressing room, or on the front of the stage, or when Mae West sang on stage 

The finale is poignant and revealing as to how Mae West may have felt.

Direction by Sarah Goodes developed a good reading of Stephen Sewell's script.  Sarah Goodes has also educed fabulous performances from the three fine actresses.  She has also introduced us to two debut performances at MTC by Diana Glenn and Jennifer Vuletic.  Why have they not been showcased at MTC is beyond me.

There is a depth to each of the characters that each of the three fine actresses have developed.

Diana Glenn  as Diane Arbus gave us a warm and seductive performance as she tried to coax Mae West to reveal herself emotionally and physically.

Jennifer Vuletic as Mae West's assistant, Ruby gave a proper and stoically protective performance.  At times she was a little stiff.  I read this as is Ruby was steeling herself for the next revelation or the next encounter with either Mae West or Diane Arbus.  Ruby's stiffness could be perceived that was the back bone to support Mae West.  I liked how Ruby stood up to Mae West and spoke honestly.  This won Mae West's respect and Ruby knew her place as the assistant.

Melita Jurisic paid incredible homage with her performance of Mae West.  I have seen better imitations by drag queens, but Melita Jurisic became her believable version of Mae West including signature poses and characteristic vocal delivery.  I particularly loved how Melita Jurisic captured Mae West's her eye movements.  Ted Shawn would approve in his book "Every Little Movement".  A movement consultant could have enhanced her moves for more accuracy as her centre shifted.  (Refer Michael Chekhov "Centres".)  I think Mae West's centre was in her brain as she realised that this was her main sexual organ, and she knew when and how to change her centre to the different parts of her body.

Set and Costume Design by Renee Mulder captures the glamour of Mae West's style.  The corridor for her apartment and dressing room also works a separate stage area.  The use of the two doorways to the front door and to her bedroom created completely different atmospheres.  The central window framed the action with a stream of daylight that created its own tension between characters.  This window also supported Stephen Sewell's writing by giving an ethereal and spiritual layer to the production. 

The Chauffeur, while not being revealed, left the audience with questions about the mystery of this elusive character.  

The script could be pruned as it became a little repetitive at times.  The interval gave a sense of time transition.  With refinement this script can be slicker, tighter and funnier. 

"Arbus and West" by Stephen Sewell obtained an 8.5/10. 

The Children, MTC at Sumner Theatre MTC, Tuesday February 27th 2018

"The Children", MTC at Sumner Theatre MTC, Tuesday February 27th 2018

"The Children" a co-production by MTC and STC was presented at Sumner Theatre MTC, Tuesday February 27th 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.

"The Children" by Lucy Kirkwood and directed by Sarah Goodes as a co-production by MTC and STC.  In a nutshell the acting is better than the script.  The direction is laboured.

The logic with the set design is flawed when the stage left door is opened with no change in the lights.  Then suddenly there is a lighting change with a huge doorway lighting effect.  

The kitchen with the table and two chairs made sense while the sole lounge chair screamed unrealistic.

The major visual effect is flawed also when William Zappa who plays Robin sits in a trail of the visual effect.  There is not a trace on his jeans when he stands.

Writing wise, there seemed to be segments spliced together to create scenes and then patched together to create drama.  The play took way too long to get to any potential drama.

The funniest lines were those usually delivered by Pamela Rabe as Hazel, who underplayed her asides to reveal deep feelings.  Sadly these asides rarely raised a vocal laugh as they were the best writing in the play.  Though the asides that were overplayed and made obvious to the audience as "this is a laugh line" rose laughs of recognition.  Sadly these were embarrassing to watch as they were played so much in our face.

The actions were laboured by the over produced and over rehearsed choreographed actions  that there was barely a truthful realism.  Pamela Rabe came closest with her fastidious ways, particularly in the preparation of a meal that took way too long for what was produced.  The best piece of realism was when Sarah Peirse as Rose rescued the dripping lettuce in the tea-towel.  More of these moments were required to save a very ordinary script.

These fine actors are better than this ordinary play and this direction.

What really lost me was William Zappa's entrance with the bike.  He kept carrying it during the welcome scene.  The used the machine to check for any radiation.  Wow!  It read okay!  But later this same man was being checked with the same machine, on the same day and now we have a dramatic reading.  Oh spare me!

The telephone rang conveniently to provide a distraction.  This was another spare me moment!  It was so cliched and the phone call took the requisite amount of time for the reveal scene.  My eyes were rolling my eyes in my head as it was as if this was an undergraduate play.

The accents varied and heaven forbid we had the occasional Canadian or Australian sounding word and phrase.  And they used a vocal coach!

The dance routine scene seemed so out of place and overly long.  Yes the MTC and STC  had to justify the use of a movement consultant.

The set design does not work properly in this theatre with the sight lines as each side of the audience is denied the view of one of the end walls.  The set is set askew with the stage right side further upstage (kitchen set) than the stage left side, that provides some tension.  This tension is then negated by counter balancing the less cluttered stage left side with the sole lounge chair and stool.

I have seen amateur companies do a better job with less flamboyant sets and costumes than this overly produced work.

To top off this we had to endure a very loud ringing mobile phone.  Then there were three other phones that beeped throughout.  Plus two of those flashy watches with computer attachments had to be checked on numerous occasions.  In a darkened theatre these flashy lights are so distracting.  The first loud ringing phone was during a crucial reveal that both my partner and I missed the dialogue.

Overall, this production obtained a very generous 6,5/10.  My partner agreed and said the whole play was too long!

Switzerland, Melbourne Theatre Company. Sumner Theatre, Wednesday October 5th 2016

Switzerland, Melbourne Theatre Company. Sumner Theatre, Wednesday October 5th 2016

"Switzerland" by Joanna Murray-Smith was presented by The Melbourne Theatre Company at The. Sumner Theatre on Wednesday October 5th 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.

"Switzerland" by Joanna Murray-Smith is a one act play with three distinct scenes.  It uses the traditional three-act format to build tension and create resolution.  At times it felt didactic and a little over written.  The play also reminds me of "Sleuth" with the game playing and role playing.  I have seen many works by Joanna Murray-Smith and this had a predictable structure and ending.   Though I think some of the direction gave it away very early on with the first entrance of Sarah Peirse as the author Patricia Highsmith.

Starring Eamon Farren as Edward and Sarah Peirse played the author Patricia Highsmith.

Sarah Peirse's accent changed.  Her pronunciation of "New York" was more British than with the "noo" sound.  I liked her attention to the facial mannerism which reminded me of some female alcoholics I have known - with her lips and tongues craving the next drink.  Her hands did not grasp the glass in the way that I have seen many alcoholics grasp their drink.

Eamon Farren as Edward created the illusion of confidence and New York publisher assistant.  He played the charmer without being a sycophant.  He was meticulous in his research.  Maybe the moves were limited in case Patricia Highsmith was aware of any physical characteristics. Maybe it was a decision to suppress any obvious objectives. The telling move  - which gave the plot away was his lack of physical interest in wanting a seat.  This rang alarm bells with me and showed his pretence. He had just walked a long way plus he had travelled from Paris to Switzerland.   If he was so tired he would have physically moved a slightly different way trying to remain standing.  (Notice what you do when you need to sit down next time.)  It was only in the third scene where his objectives were revealed.

Directed by Sarah Goodes the production had a clunky feel to it, with one character speaks then the other speaks.  One character may move then the other.  It was a cat and mouse game, or a game of chess.  The structure to speak, move (or not to move), your line, your move was nauseating. Maybe this was intentional to build tension for us viewing.  The characters seemed to have no inner objective other than to say their lines and move to their respected blocked positions like a chess game.  The acting was a heightened stylised naturalism rather than naturalism.

The more I watched this play the more I felt it was manufactured and robotic staging.  It was only in the third section where-by the actions and moves seemed to resonate with meaning.  Maybe this was intentional again to show how the relationship between the characters had developed.

The snail pace of movement may have been intentional as Edward left his trail.  Or trying to hide his trail?  Patricia Highsmith played practical jokes on people with snails.  This snail pace of movement and the long pauses and extended stares added to the creepiness and disturbing aspect of their relationship.  Maybe this manufactured look was intentional.  Should we too be aware of a stranger coming into our home?

Michael Scott-Mitchell has designed the production with a wide living room and study that reminded me of "The Qualms".  The ceiling and the three windows provided an enclosed caged atmosphere.   The spiral staircase and the display of weapons (two guns and three swords/knives) gave a hint of the menace.

Lighting Design by Nick Schlieper provided the requisite focus to the set,  The blackouts were sharp and straightforward.  The new lighting created a time lapse.

Composer and Sound Design by Steve Francis creates a soundscape from the initial footsteps outside to music to stir and chill us.

Overall I thought this was a good production but not great and gave it a 7/10.

Note:

Before the show we went upstairs as we enjoy the view and it is usually quieter and less crowded. We went to the toilet and the stench as soon as you walked into the men's toilet was horrendously foul.  It was only the following day my partner mentioned the smell of the upstairs toilets and how it seemed to pervade the front of the theatre.  he thought it was the herbal cigarettes and we both realised the smell was far more serious.
I rang and told the administration at the MTC on this Thursday.  I was told "we are aware of the smell and do not know what the problem is."  I cannot believe this!  With all the money pumped into this company to build the Arts Centre Playhouse and the Studio (now called the George Fairfax Theatre) for their growing audiences.  I am disgusted that they now have this Southbank Theatre complex purpose built venue and with all of the technology and professionals involved they do not know what the problem is!  Maybe they will beg for more money from the government or patrons.  Look after and maintain what you have. I will not be re-subscribing until this is fixed.