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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

There were so many missed opportunities in this production.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Trustees, Belarus Free Theatre with the Malthouse and Melbourne International Arts Festival, Beckett Theatre at The Coopers Malthouse Theatre, Sunday October 21st 2018

Trustees, Belarus Free Theatre with the Malthouse and Melbourne International Arts Festival, Beckett Theatre at The Coopers Malthouse Theatre, Sunday October 21st 2018

"Trustees", a co-production by the directors of Belarus Free Theatre, The Malthouse Theatre and the Melbourne International Arts Festival was presented at the Beckett Theatre, at  The Coopers Malthouse on Sunday October 21st 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.

"Trustees" was written by Natalia Kaliada and Nicolai Khalezin, with Daniel Schlusser and the cast.

Before the Beckett Theatre doors were open, the cast came into the foyer.  They were recognisable as they all sported a radio microphone over one of their ears.  The show began when the cast mingled with the audience.  I knew from reading about the show that we were going to be asked to vote at a forum.

I was surprised that audience members were not immersed into the experience by registering, and being given name badges as attendees, for the forum.  This would have built up the audience's expectations a notch - as if really attending a forum prior to entry.

Directed by Natalia Kaliada and Nicolai Khalezin from the Belarus Free Theatre have created a work that leaves you with more questions than answers.  It is a thought provoking work but stirred up more issues that were not dealt with in the production.

The programme listed the cast and crew, though I cannot understand why the names of the characters were not listed as each character was designated a name.  It is easier to refer to the programme and name the character than to describe the role played by (insert a name) here.

Special thanks were made to Brad McEwan as the newsreader that provided segues and news updates between many scenes.  Sadly no further information was given.  I do not know what Dushan Philips' role in the production was, as no details were provided in the programme.

Movement Direction by Briget Fiske provided a range of sequences: dance moves, fight sequences and aerial counter-balance work.  The final image was the strongest statement in the show and is discussed in more detail below.

Lighting Design by Amelai Lever-Davidson helped create a variety of atmospheres.

No credit was supplied as to who created the videos or the graphics for the show.  Maybe it was Dushan Philips?  Maybe this was another of the unanswered questions for the audience to consider?

Set and Costume Design by Romanie Harper provided a range of costumes that were functional for the requisite behaviour of different characters.  The board room table with three sliding chambers was clever as it hid the shallow bath and two garden beds.

Banks of seating were positioned on all four sides of the opened Beckett Theatre.  Four white chairs in a diamond shape stood in the centre of the area.  Two chairs stood upright, while the other two chairs were tilted forward warning us of future events.

The set also comprised the use of a television camera in one corner with six television monitors above the audience.  Three monitors were positioned above each of the two longer sides of the stage.

The original cast listed in The Malthouse Theatre brochure for their 2018 Season changed to who actually collaborated and acted in the show.  I appreciate the cast list can be changed due to availability or other issues.  From a theatre history perspective I am noting this for future reference as I am sure many patrons are unaware of the change.

Acting wise left a lot to be desired as they all over-acted to the point of being cringe-worthy.  Had the cast been more naturalistic and evolved their performances would have made more of an impact.  I appreciate the show was a satire and the opening two scenes could have worked better with less is more.

The opening sequence where Hazem Shammas entered as the facilitator was nearly in-audible as his diction was so mumbled and his pace was so fast.   The over the top enthusiasm was nearly like a television games show.  

The other cast members were introduced as guests for the opening debate.  One actress was asked a question and she introduced herself.  She also asked "What was the question?"  This was doubly funny after her introduction and because Hazem Shammas was speaking so fast and with poor diction, I too could not understand the question.  Thankfully he repeated it.

We had the sham debate with four different perspectives.  Sitting on our side of the theatre is where I guessed the directors mainly directed the work.  There was a vote online with the television monitors displaying the website for voting.  I did not bother as I suspected it was all a hoax vote.  Audience members were adamant to vote and have their say, which was interesting as it highlighted the corruption in some societies with voting.

The debate was naive and simplistic with government funded arts versus not funding the arts.  The debate revealed a lack of business acumen from the collaborators.  They did not debate or reveal any other business models for artists, and showed a narrow view and a lack of financial and business management from the collaborators.

A television news broadcast would appear from time to time to create segues between scenes.  We were being exposed to fantasy versus reality - fake news etc.  What is fake and fact?  What is perspective or a different slant on a story?

The second major scene was a board room for the Lone Pine Theatre Company and trying to work out ways to survive.  This was demonstrated as a brainstorming activity with lots of feet on the table and power play. Many of the ideas of various theme parks had a contemporary reference to the television show "Westworld". 

The ideas were under-cooked at times as they did not fully explore possibilities. 

There were some wonderful images through the show that I felt made more of impact with the less is more approach.  

My favourite image was when Daniel Schlusser set the table ablaze.  We witnessed the impact of the "slash and burn" with the funding/budget cuts to their theatre company.  I recall looking up to see both exit signs when Daniel lit the flame on the table top. A table cloth was produced to douse the flames.  The actors were cognisant by ensuring that all embers had been extinguished.  I congratulate them on their safety concerns. 

Natasha Herbert set out the serviettes for each seating placement.   Her eagle eye was checking to ensure no flame had reignited underneath the tablecloth.

The board members covered their faces with their serviettes as if veils had the cultural subservience element.  Here the artists were subservient to the government, funding bodies and sponsors.  This was another strong image.

When Daniel Schlusser stripped bare exposing himself physically and emotionally, he was also revealing how artists are publicly put on display.  This scene also showed how financial transparency is important within funding.  When he is bathed in the centre of the table it has religious undertones of a baptism or a re-birth, or being cleansed and purified to complete the funding applications in accordance with the whim of the next government policy.

Natasha Herbert suddenly could now walk without the aid of her walking stick.  It was a miracle! Or was it?  She sat and took out an avocado, cut it in two and stabbed the seed to extricate it.  She then placed the seed into the wooden fruit box.  This was a wonderful image of planting the seeds into a treasure chest.  She sat and spooned out the contents of half the avocado.  Again this was a wonderful image of the younger generation being criticised for eating smashed avocado, rather than saving for a deposit for their future home.  This image also referred to the waste of money given to some, and living in the now.

When Natasha Herbert planted the poppies into the soil at the two ends of the table it was as if she was planting seeds of ideas.  She was nurturing, cultivating, and growing her crops for the future of Australian society.  She needed to water the plants, and water is a scarce and valuable resource - as is money for the arts funding.  Her story contrasted the freedom we have in Australia compared to Nazi Germany.  In fact, her story paid homage to all totalitarian regimes of the past, present and future.

Tammy Anderson also stripped.  She moaned and groaned as she made her way around the entire stage to ensure that everyone in the audience could see her nakedness.  She mixed powder with the water, and then smeared herself in white paint ceremoniously.  She seemed to be providing sexual favours for her art.  Nothing is new about the casting couch with the "Me Too" movement.  She provides Daniel Schlusser with the table-cloth to cover his wet body both as a towel and with the toga image from the Roman Forum.  (Remember we are attending a forum and now gaining insight into the five characters via their monologues).

Interestingly, the costume design included only one pair of coloured shoes.  These were the red shoes worn by Niharika Senapati.  The red shoes stood out as both power dressing, and also referencing the fantasy of Dorothy from "The Wizard of Oz" and wanting to go home to Kansas.  This was a clever piece of subtle costume design as there was a theme of homeland throughout.  The red shoes created a message of hope for the future.

Niharika Senapati began as if Ellen DeGeneres interviewing audience members about "do you like audience participation?"  She would kneel before or sit on the knee of an audience member.  She went to each of the four sides of the theatre.  Then she proceeded into more audience participation with different dance moves for the four sides of the theatre.  We even were instructed in a Mexican wave arm movement.  She ran around the theatre first clockwise and then counter-clockwise to see the audience demonstrate this wave of movement.  She proceeded to dance until three actors entered and restrained her.  They held her down that produced a magical moment of cause and consequences.

My favourite image of the show was when Niharika Senapati was restrained by the three actors.  The three actors bound her feet into the ends of a thick rope.  The three actors pulled the three ropes to the section of rope with an obvious knot to ensure they did not lose their grip.  They then hoisted her upside down.  Niharika Senapati was lifted off the ground feet first as if an aerialist.  The image reminded me of an upside version of a physical reckoning from "The Handmaid's Tale".  More so, this image reminded me of how these theatre companies are being strung up financially and artistically.  It made me question: "who is pulling the strings here?" and "which of the three people has the most influence in funding, cultural and artistic decisions?" 

This scene was where the censorship theme was strongest as we saw the consequences of non-compliance or non-conformity.  I yearned for more of these type of succinct and powerful resonating messages as per this simple scene.

The five extended monologues were at times, as if they were all vying for their voice to be heard.  It was a competition for who had the most sensational or depraved story to lure us into potentially gain our empathy.

After chaos the five returned as if at the end of the debate.  The forum was concluded and left more questions unanswered for the audience to ponder.  This ending was an academic approach to leaving a question for the future.

The show rammed messages down our throats.  It was didactic and too long.  In fact it was ten minutes longer than the ninety minutes that was originally advertised on the Malthouse Theatre website.

The whole theme of censorship did not discuss enough about freedom of speech or freedom of thought.  It did not expose the elitism of some artists and arts boards or bodies with their own in-house censorship.

Will "Trustees" survive for another two hundred years as a work of literature or a piece of theatre?  No, it will be revamped into another format by new artists thinking that they are being innovative.   "Trustees" begs the question of whether this is theatre for now or the future.  This production is a contemporary piece of theatre with a limited life.  The arguments for funding and censorship will regurgitate throughout history and will create an opportunity for some playwright to create a timeless work.

With some refinement "Trustees" could be more cohesive and provide more articulate messages.

The arguments for funding and censorship have been around since nearly the beginning of performances.  What stood out is that we are lucky in Australia that artists are able to voice their work compared to other countries.

"Trustees" will make a good festival touring project to justify the Australian taxpayer's contribution to the arts.

"Trustees"  received a generous 7/10 from both my partner and I.

Note the following postscript is from my memories of seeing shows and interviews:

Postscript - historical memories:  

The play "Trustees" opened up my memory vault to write this post script.  Hence in the back of my mind I had reservations about the production.  The production made me think of the cyclical nature of censorship and how lucky we are in Australia to be able to debate these issues, compared to some countries where you would be jailed or sentenced to death for debating let alone presenting a controversial work.

There have been many plays and works of art that have caused controversy and campaigns or protests for censorship in Australia.  These include:

"Corpus Christi" was presented at The Athenaeum Theatre in January 2001 where Jesus Christ was portrayed as a homosexual.  Protests occurred outside the theatre at every performance.  I do not think this play would have been presented after September 11th 2001.  As such, it is amazing what a date can do to change perspective of a controversy and censorship.

Tivoli Theatre Melbourne where the topless ladies had to stand perfectly still or would be arrested by the Victoria Police Vice Squad.

 "Hair" both in Sydney and Melbourne, "Oh Calcutta", "Let My People Come", and "The Boys In the Band" all had the Victoria Police Vice Squad watching carefully to ensure that no breaches occurred.

The news of  "Oh Calcutta" being banned by order of the Supreme Court of  Victoria hit the New York Times in 1970.

The New Theatre in NSW even has a history of censorship.  The financial gains for a controversial work "American Hurrah"  by Jean Claude van Italie are also given in this link to the New Theatre.

There are many articles about censorship in the arts in Australia.

Sir Robert Helpmann even commented about the nude dancing in a ballet with two famous quotes:

• "The trouble with nude dancing is that not everything stops when the music stops."
• "I think you can be contemporary without taking your clothes off."  

Even amateur shows copped censorship with the following:

"Thurber's Carnival"  by James Thurber was presented with caution, as it was nearly banned, at the 20th Wagga Wagga School of Arts Drama Festival in 1974.  The play was controversial as the work was deemed inappropriate and lewd for the youth performing the work from Canberra Youth Theatre.

"The Serpent", also by Jean Claude van Italie was banned in Adelaide at a drama competition, and also was banned at the Kyneton Festival of One Act Plays in 1973.  An article written for The Age had the title "Hasn't Wagga Changed" by a journalist who did not see the play at Wagga Wagga.  The Age article alerted the Adelaide committee to a potential controversy.  In Adelaide, the director Norman Sotherby had also directed "Ritual For Dolls"  by George MacEwan Green and said to the adjudicator that "this play was more offensive" and yet was allowed to be performed.  In Kyneton the committee had a similar reaction.  The committee relented and allowed "The Serpent" to compete but was only allowed to be performed in front of the adjudicator, Simon Hopkinson, with no audience present.

Marketing leverage:

Some works of art have successfully leveraged off their controversy and potentially crossing censorship boundaries.

These include "Chloe" at Young and Jackson's Hotel in Melbourne where many articles were written about covering the painting over.

The famous "David" statue by Michelangelo and many other works of art have had articles written about it and covering up the genitalia with a fig leaf.

The famous controversy in Australia with the Bill Henson photographs, as well as the "Piss Christ" by Andres Serrano controversy where it was vandalised as a result of being offensive and sacrilegious.  As such these controversial works create marketing opportunities for organisations to leverage and cash in on their notoriety.

"The Blue Room" play by David Hare was produced both in Australia and overseas.  Nicole Kidman starred in the London production and is an example of the sensationalism of the nude scenes for marketing and publicity, which increased sales.

"Equus" by Peter Shaffer was another play that successfully used its controversial content and nude scene, with the stabbing and blinding of the horses.  This play received an "R" (restricted) rating in some cities in Australia.

There is a book called "Banned Plays" by Dawn B. Sova that outlines 125 banned plays through history.  She gives examples going back to 411 BC and even includes the Melbourne controversy of "The Boys In The Band".

Trigger warnings:

Trigger warnings are occurring more in schools, universities and the media. Trigger warnings are used for many reasons to alert students, patrons or viewers of any potentially distressing material or scenes - such as violence, sexual material, loud noise, cigarette smoking etc.  I understand also the medical consequences that strobe lighting, loud noises or smoke can affect some people.  I understand why trigger warnings are being used, but this made me think that the trigger warnings can be an example of censorship - by preparing audiences for a possible event that can dilute the impact of any message.

However the trigger warning signs prior to entry at "Song for a Weary Throat" were not successful as they should have made a vocal announcement before the show to allow patrons to obtain a set of headphones to muffle the loud crashes.  Many patrons covered their ears.  After the show a few people asked where we obtained the headphones, and they were shocked as they did not see the trigger warning sign before entering the theatre.

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

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

"Ich Nibber Dibber" was presented by the Malthouse Theatre at the Beckett Theatre on Saturday September 22nd 2018.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"Blackie Blackie Brown" was presented as a co-production by the Malthouse Theatre and Sydney Theatre Company at the Beckett Theatre on Saturday July 28th 2018

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

"Blackie Blackie Brown" obtained an 8.5/10.

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

Dark Circus, Stereoptik, Beckett Theatre at Malthouse Theatre, Melbourne Festival, Monday October 9th 2017

Dark Circus, Stereoptik for the Melbourne Festival, Beckett Theatre, Monday October 9th 2017

"Dark Circus" by Stereoptik was presented at the Beckett Theatre at the Malthouse Theatre for the Melbourne Festival, on Monday October 9th 2017

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

"Dark Circus" by Stereoptik was presented at the Beckett Theatre at the Malthouse Theatre for the Melbourne Festival, and we saw their final show on Monday October 9th 2017.

Sadly no programme was available to tell us about these master artists.

The two performers Romain Bermond and Jean-Baptiste Maillett stand either side of the stage with a projector projecting images onto a large white screen. Romain Bermond appears to be the painter while Jean-Baptiste Maillett appears to be the musician.  We will be challenges as Romain Bermond begins drawing a scene of a circus tent at the back of a city to the musical accompaniment.

Gradually we are challenged that the pictures will be also made from sand and wiping away the sand to create shapes and give the picture's texture.  Later the pictures will be animated.  The equipment they use looks like an overhead projector - yet wait - there is more to what the eye tells us.

We are introduced to the ring master - who speaks to us and introduces each act.  The shadow puppets become puppets with moving eyes and mouths.  The puppet is turned over to occasionally become colour.

There are overhead lights that are turned on and off.  Shadow puppets change from black and white to colour.  There are at least two rollers that produce continuous moving scenery.  One moves horizontally and the other vertically.  One is colour and one is black and white.  A drum is used to create more drawings with an aerialist. The aerialist flips between both artists as their pictures change.

The cannon ball man is blown out of the cannon and into outer space.  Again the view switches between each of these artist's work spaces.  While one produces some action, the other is preparing the next scene or shot of a scene.  Such incredible mastery and timing as they produce a live show using some prepared materials and most of which is produced live.

A lion is revealed behind a cage, which are drawn lines for the cage.  Then it transitions and is revealed as the strings of the guitar.  This is such a magical transition.  The Lion Tamer is later revealed the arm of the guitar.  The Lion Tamer gets attacked by the lion. Yes it is dark - but it is innocent fun.

The horses are presented as shadows as they move across the screen.  Another scene is drawn and a horse is drawn into the scene.  Gradually the horse starts to move.  How?  It is animated into the scene as Romain Bermond continues to change the landscape.  The horse does a circuit and is enclosed into the drawn lines of a fence.  Gradually one side of the fence is wiped away and the horse "has bolted".  Magical!

There is a knife throwing couple.  Again the two artists prepare their pictures for the transitions between the scenes.  The knife is thrown from one artist to another - as if cut-a-way shots from a film.  We are witnessing editing live on stage with the flick of a switch or the adjustment of a lamp or the inclusion of a puppet.

There is the juggler with his balls. The ball changes to colour - a red ball.

A section looked as if Romain Bermond was painting with a clear substance that looked like glue.  I was fascinated as he refilled his brush with the clear substance.  He was meticulous and specific and accurate in his determination.  I was intrigued, as were other audience members.  Then he changed his brush to black and dropped a dollop of ink onto his clear drawing.  Wow!  The ink captured what I think was glue and created the image of a man as per 49 of the Melbourne Festival Brochure.  This drew instant applause from the audience.  This section was breathtakingly good. Sheer brilliance!

"Dark Circus"  also included a section using water.  A small tank was near the musical instruments on stage right.  Jean-Baptiste Maillett begins to manipulate the water and we see swirling water on the screen to show it is real.  Then he introduces an object and it appears to be a leg.  We see mirror images as if reflections in the water.  Jean-Baptiste Maillett was manipulating these images upside down due to the mirrored images.  The images became split between both of the artists and it reminded me of the Victorian stereoscopes used at carnivals and side shows.

  by Stereoptik was presented at the Beckett Theatre at the Malthouse Theatre for the Melbourne Festival, and we saw their final show on Monday October 9th 2017.

The finale is a traditional circus parade - but it is as if all of the performers are in heaven or hell.

We finish with the red nose of a clown.  Who has been fooled?  Not the clown - but us - the audience by these talented magicians.

At first our attention was focused on the screen.  Then, your focus is drawn to looking at each of the artists.  Until eventually I tried to split my focus between the screen and each of the artists.  Then I was trying to watch holistically.  Then I was trying to flick my eyes between the screen and the artist.  I did not want to miss any opportunity to be mesmerised.

Fifty five minutes was the perfect time for this show.  It is better to leave an audience wanting more!

I would love to have seen a master class on how they performed such magical theatre.

The 2017 Melbourne Festival has a solid theme to challenge us with contemporary views on music, circus, vaudeville and burlesque in all of the shows that we have seen so far.

"Dark Circus" obtained a 9/10.

I rang up the Melbourne Festival and also posted the following onto my Facebook page:

"The Melbourne Festival Board and Jonathon Holloway should be "executed"! The Melbourne Festival Board should "EXECUTE" a new and extended contract for the brilliant Jonathon Holloway for creating such a wonderfully challenging and inspiring Melbourne Festival."  

Backstage In Biscuit Land, Beckett Theatre, The Coopers Malthouse Theatre, Melbourne Festival, Thursday October 13th 2016

Backstage In Biscuit Land, Beckett Theatre, The Coopers Malthouse Theatre, Melbourne Festival, Thursday October 13th 2016

"Backstage In Biscuit Land" by Touretteshero was presented at the The Coopers Malthouse Beckett Theatre as part of the Melbourne Festival on Thursday October 13th 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.

"Backstage In Biscuit Land" had no programme and so the information is from the Melbourne Festival brochure:  The show is written and devised by Jess Thom, Jess Mabel Jones and Matthew Pountney.  It is presented in conjunction with Theatre Works and supported by The British Council.

Upon arrival to the theatre a lady was in a wheelchair and another lady interpreting in Auslan. Off to the stage right you could hear a voice which we later learned was Jess Thom.  Occasionally she would peek her head to look at the audience.  We were told that the performance had not officially begun.  This was like a warm up.

The performance started officially at about 8.03 pm which is another record for the Melbourne Festival.  Three shows starting within three minutes is unheard of in its 31 year history.  Well done Jonathon Holloway for trying to get shows to start on time.

The show is a fun show with lots of laughs and poignancy.  We are introduced to Jess Thom and her co performer who holds an emergency script.  We are also introduced to the Auslan interpreter.

Our perceptions are challenged as the actress Jess Mabel Jones arises from the wheelchair as the show officially begins.  We are told background information about Jess Thom and her experiences of growing up.  

Jess Thom tells us about Tourettes' Syndrome and we are given lots of examples to be able to relate to her condition.  We join in with the various types of tics with vocal and physical examples.  We learn about her experiences of making the show and why it was made.  We do an audience Mexican Wave saying the word "biscuit" and even are offered a tin of biscuits to help ourselves to a biscuit.  Holistically an experience to help us remember the whole show and the beautiful messages it evokes - of inclusiveness.

The staring and no-blinking competition was a great piece of audience participation to emphasise aspects of tics.  We even had to use our hands and follow instructions of where to point.  Though we did not get to do the thumping of the chest activity - but I am sure many people did in their own private way.  All of these different example heightened our awareness and our empathy for people with Tourette's Syndrome or with anyone who is different to us.

Jess Thom demonstrated trying to eat.  She also used seven different toothbrushes to explain about her support workers.  Each of these toothbrushes was not only a different colour but came to life as real people.

Both my partner and myself found the last twenty minutes was hard to understand as the pace of dialogue increased.  We got the gist of it but missed some of the nuances and phrases. Others in the audience had the same difficulty following this last section as laughter came from pockets in the audience.

There were lots of props used to tell stories and created visual cues for us to remember this wonderful event.  I adored the use of the cushions to create a pond to allow the ducks to swim on water.  A half filled clear water-bottle and a light created the ripple effects of a pond. Magical, realistic and so simple.

Having worked with a few people with Tourette's Syndrome I can tolerate their tics more than I can tolerate the rude and obsessive mobile phone, iPAD or tablet "Twankers" who are learning their behaviour by their compulsion for the "Fear of missing out".  These "Twankers" should take a close look at themselves and their anti-social behaviour as they are feeding their obsession.

It is a terrific and fun filled show that is different at every performance but has a structure to follow.
A minor mobile phone and texting issue next to my partner.

"Backstage In Biscuit Land" is a highly recommended show.

I gave this a 7.5/10 as I missed the last twenty minutes in depth.  I could see her again.

NOTES:

"Backstage In Biscuit Land" had no programme and so it is easier to reference the following from the literature by both the Melbourne Festival and the Coopers Malthouse below:

The email sent from the Melbourne Festival to remind us of the performance included the following note:  "All performances will be Auslan interpreted. Jess is one of the 10% of people with Tourette's Syndrome who has swearing tics. This performance may include the involuntary use of words that some audience members may find offensive."

The following was from the Coopers Malthouse website which I know will be be deleted down the track:

"MELBOURNE FESTIVAL 2016 / BY TOURETTESHERO (UK)

Jess Thom finds going to the theatre difficult. So would you if your Tourette’s had you saying words like ’biscuit’ 16,000 times a day. Her solution? Take to the stage instead.

Backstage in Biscuit Land is a comedic tour-deforce that mines Thom’s unique neurology—and the tics it produces—to take you deep inside the rabbit hole of a much-misunderstood condition. Along the way you might encounter penguin gangbangs and squirrel knickers, but it’s hard to be sure when your star is neurologically wired to wander into associative absurdity.

As unpredictable as she is enlightening, joyous to watch even when what she comes out with is at times shocking, Thom is proof that creativity doesn’t stick to the script.

PLEASE NOTE

Jess is one of the 10% of people with Tourette’s Syndrome who has swearing tics. This performance may include the involuntary use of words that some audience members may find offensive."  http://malthousetheatre.com.au/whats-on/backstage-in-biscuit-land

The Fiery Maze, Beckett Theatre at the Malthouse Theatre, Wednesday August 31st 2016

The Fiery Maze, Beckett Theatre at the Malthouse Theatre,  Wednesday August 31st 2016

"The Fiery Maze" written by Tim Finn and Dorothy Porter played at the Becket Theatre at the Malthouse Theatre on  Wednesday August 31st 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 Fiery Maze" has music by Tim Finn and adapted the works of  Dorothy Porter.  These songs are performed by Abi Tucker as lead vocalist, with Tim Finn and Brett Adams supplying back up vocals and instrumentation.

"The Fiery Maze" is more of a cabaret show that would be welcome in a pub but requires concentration to enjoy the rich texture of the music , lyrics and performances.    The range of music was refreshing as I had read another review and dreaded what I was to see.  I wanted to keep a fresh perspective and loved the range of styles offered.   To enhance the musical experience a larger backing group would allow for more instruments and orchestrations.

Abi Tucker was sublime.  She channelled Janis Joplin and other singers including Piaf  and Blondie spring to mind.  It would have been refreshing to see her perform some of the songs as torch songs or seated.  I was most impressed with her vocal gymnastics and her ability to cross styles of music.  It was terrific to see a singer not scooping her notes.  I think the director,  Anne-Louise Sarks only touched on what Abi Tucker could reveal as a performer.

Design by Nick Schlieper was a simple round rostrum with lights to enclose the space giving various effects of being en-caged or lionised.  His designs capture the moods of each song.

The fifty minutes went quite fast with the rich tapestry of some 16 songs.  My first reaction was to create dialogue to encase the work.  I am glad that it was just the music and the poetry though I would have liked the lyrics in the programme.

Tim Finn is a dynamic recording artist and a composer of note.  His "Ladies in Black" is a tour de force while "The Fiery Maze" is worth a viewing.

Overall "The Fiery Maze" received a 7/10.

Right and Left, Beckett Theatre, Melbourne Festival, Friday October 16th 2015

Right and Left, Beckett Theatre, Melbourne Festival, Friday October 16th 2015

"Right and Left" is a dance work by choreographer Gu Jiani for the Melbourne Festival    This was a part of the Special Combination workshop which was an invitation only event that was facilitated by Gideon Obarzanek.

We attended the 7.30 pm performance on Friday October 16th 2015 at The Beckett Theatre at The Coopers Malthouse.

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 am writing this review from my notes nearly two weeks after the event but still have the same impression.

There were no programmes available.  The performance began at 7.06pm.

There was a large table stage left that was off balance and seemed to be hanging from the back wall.

There were two dancers Gu Jiani and Li Nan with video art by Ping.

I recall the following sections:

1. Shadows
2. Stools
3. Strangulation
4. Solo
5. Sillouettes and shadows (more of the same!)
6. Duets (which I called Suets to keep the "S" theme!)
7. Silence and more silence.  Stillness.  (The lady was on the left)
8. The table was moved.

The choreography was quite pedestrian and did not push the boundaries except for the Stool section. This Stool section was inventive using a stool as a third dancer in a pas de trois.  The stool was not only sat upon but slid between, lifted, hung from, worn, and crawled through.  Such inventive choreography that sadly was not replicated with the table section.

The audience was too close and the sight lines were only optimum for the first row.  I watched people in the second and third rows craning to view what was within reach of the front row.  The front of the stage should have been pushed back by at least a 1.5 metres for those past the third row to see what was happening downstage.  (That means those in rows C, D, E had limited views of the front of the stage!)

There were eight empty seats in Rows D and E.  Thankfully the ushers used some common sense and offered these to patrons who were in the upper section of the theatre.

The Strangulation section was engaging as the danger of manipulating another person's head can be very uncomfortable viewing.

When the table was moved away from the back wall the dancers played around with it.  They slid the table and hung from its legs and moved with it.  There were so many wonderful moments of dancing with the stool and sadly dancing with the table was not as inventive.  Maybe they ran out of time.

The most exciting part was the bows.  The dancers had the deepest bows and gratitude for the audience.  I wish more performers would take such considered bows.  Plus many performers could learn to command their space from these young performers - not only for their bows but their presence.

This is a work in progress.

Overall I gave this a 5/10.