Storm Boy, MTC Sumner Theatre at the Southbank Theatre, Tuesday July 2nd 2019

Storm Boy, MTC Sumner Theatre at the Southbank Theatre, Tuesday July 2nd 2019

"Storm Boy" is a co-production by Melbourne Theatre Company, Queensland Theatre Company and in association with Dead Puppet Society. This co-production was presented at the MTC's Sumner Theatre at the Southbank Theatre, Tuesday July 2nd 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.

This review contains spoilers.

"Storm Boy" adapted by Tom Holloway for the stage from the book by Colin Thiele.  

"Storm Boy" was directed by Sam Strong from the Queensland Theatre Company and designed by Anna Cordingley.

Congratulations to David Morton as the Puppet Designer and Associate Director.  The team of puppet makers and puppeteers were fabulous.

The puppets by Dead Puppet Society captured so much of the audience's attention. Both the design of the puppets including pelicans, pelican chicks, fish, penguins and a snake were brilliantly executed by three superb puppeteers: Ellen Bailey, Emily Burton and Drew Wilson.  They made sounds to match the movements of each pelican puppet.

Emily Burton captured the only emotional heart string for me when she caressed the Storm Boy's forehead after Mr Percival dies.  Emily Burton provided the heart and soul of this production that was so lacking in the emotional bond between any of the characters.

Direction by Sam Strong had the actors force the story down my throat.  The volumes and emotions were charged beyond a realistic level.  There was no real connection between the three main characters and the story jumped with cinematic ad breaks as the curtain came down to change the set (yet again!).

Set Design by Anna Cordingley was sensational, and was so cinematic at times that I felt ambivalence, and questioned why they adapt the book as the original film is a classic piece of Australian film making.  The curtain kept rising and falling with more sound-scapes and two mobile phones vibrating loudly on two occasions.  The front curtain became a movie screen to transport us to the next location.

The boat scenes were effective with the rocking and rolling in the water.  The floor created a lovely mirrored glaze with clouds reflecting and textured sand replicating the images of South Australia's Coorong.

I did not warm to any of the three characters, though Tony Briggs as Fingerbone Bill tried valiantly to build rapport with the other two actors.

I felt the actors were not really listening to each other, as the levels were so emotionally wrong at times.

The show dragged and was laboured.  The puppetry and puppeteers at least brought the show to life at times.

I remember looking at my watch at the 20 minute mark, then the 35 minute mark, wanting less changes of set to create a more seamless flow.

Composer and Sound Designer, Darrin Verhagen created some wonderful and atmospheric sound-scapes that at times were diminished by the forced performances.

"Storm Boy" obtained a 6/10.

A Doll's House, Part 2, MTC, Southbank Theatre, The Sumner, Tuesday 11th September 2018

A Doll's House, Part 2, MTC, Southbank Theatre, The Sumner, Tuesday 11th September 2018

" A Doll's House, Part 2" by Lucas Hnath was presented by MTC at the Southbank Theatre, The Sumner, on Tuesday 11th September 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.

" A Doll's House, Part 2" had uneven performances and did not do justice to the playwright Lucas Hnath's script.

Clearly, Marta Dusseldorp gave a stellar performance as Nora.  The staging at times was very stilted and incongruent to the contemporary language.

Deidre Rubenstein was wonderful as Anne Marie, with her limp, accent and characterisation. She is such a consistently reliable performer.

Both of these fine actresses created tension and showed us a relationship full of history.  Their interactions were totally believable, unlike all other relationships in the play.

Sadly. Greg Stone as Torvald did not work for me.  He is one of my favourite Australian actors and I have seen him in about twenty shows over the past thirty years.  I was very disappointed in his performance as it lacked any relationship history to Nora.  His characterisation was full of posturing and underdeveloped.

Even sadder, let me say nearly to the point of depression was my impression of the daughter Emma played Zoe Terakes.  One friend asked "where did they drag her from?"  I was so disgusted in her performance that included stilted vocal delivery and lack of emotion.  Her poor diction and mechanical moves made me shudder in disbelief at her casting.

Set and Costume Design by Tracy Grant Lord was the real star of the show that overwhelmed the entire production.

Video Designer, Josh Burns created some interesting visual that blurred the show from a movie and play.  These visual designs were meant to segue between locations.  Good acting should give us these images.  This was such an overproduced production.

Direction by Sarah Goodes has created an incongruent piece of theatre that struggles with language and movement from different eras.  The posturing and staged positioning were at times cringe-worthy.  The lack of relationship development between some characters made for a shallow reading of Lucas Hnath's script.

I do not think Lucas Hnath expected the following reaction:

" A Doll's House, Part 2" could have many other alternative endings.   My partner and I joked after the show about the many options.  I thought of many other versions to complete the options:  Part 3: Nora stays.  Part 4: Nora kills Torvald.  Part 5: Torvald kills Nora.  Part 6: Nora kills Emma.  Part 7: Nora kills Anne Marie.  Part 8: Anne Marie kills Nora.  Part 9: Anne Marie kills Torvald.  Part 10: Anne Marie kills Emma.  Part 11: Anne Marie shacks up with Nora. Part 12: Anne Marie shacks up with Torvald. Part 13: Anne Marie shacks up with Emma.  Part 14:  The son returns.  Part 15: Nora kills the son.  Part 16: The son kills Nora. Part 17: Nora is pregnant. Part 18: Emma is pregnant. Part 19: Anne Marie announces that she had a child to Torvald.  Part 20:  There is a musical version of these options and more.  Part 21 - 2005: Change the verb from "kill" to your desired option.

This performance certainly lends itself to the creators of  "Forbidden Broadway" who could create a "Forbidden Doll's House: A 2001 plus Stage Odyssey"

I think you get the idea that yes " A Doll's House, Part 2" was an option.  Whether the production was satisfying or not from your perspective is debatable.  Writing wise, Lucas Hnath has created a wonderful play.  Sadly the execution by two characters really lost me.  My partner felt the same way.  Talking to a friend a few weeks later, she had the same reaction about the daughter and called her "weird".  

Sadly, this was not MTC's best piece of casting.

" A Doll's House, Part 2" obtained a 7/10.

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.

Jasper Jones, MTC, Sumner Theatre, Wednesday August 24th 2016

Jasper Jones, MTC, Sumner Theatre, Wednesday August 24th 2016

We attended "Jasper Jones" from the novel by Craig Silvey and adapted by Kate Mulvany and presented by The Melbourne Theatre Company at their Southbank Theatre, The Sumner Theatre on Wednesday August 24th 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.

"Jasper Jones" brings up memories from the summer of 1965.  I had just turned six years old and I remember my childhood memories so vividly as if yesterday.  This sense of memory was accurately translated by Kate Mulvany from Craig Silveys' book.

The book and play "Jasper Jones" reminds many of "To Kill A Mockingbird".  To me it has echos of the film version of "Intruder In the Dust" which preceded "To Kill A Mockingbird" with its themes of justice and racial discrimination. "Jasper Jones" also reminds me of the book "The Curious Incident of the Dog in the Night Time" with wanting to solve the murder of Laura Wishart.  (By the way I hope that the Broadway or London play "The Curious Incident of the Dog in the Night Time" tours to Australia soon!).

"Jasper Jones" is patchy at times and both my partner and myself thought it was a bit laboured and overlong.  This did not take away from our enjoyment of the play as there are so many wonderful aspects of this production.  The script was quite didactic and was full of four letter words.  In 1965 "bloody" and "bastard" were frowned upon.  The use of four letter words was a bit over done and not as accurate for a country town in 1965.  Maybe they needed the phrase "I'll put Velvet soap on your tongue" inserted into the script.

The three young male members of the cast actually take centre stage here with their credible performances.  The other actors vary in their ability to convey a truth in their performances.

Jasper Jones was ably played by Guy Simon and engaged with the audience quickly.  The sighs from the audience revealed Guy Simon's ability for us to empathise with Jasper Jones' plight.  Guy Simon brought this fourteen year old to life: both physically and vocally.

Charlie Bucktin was played by Nicholas Denton with a geek-like naivety.  He had a wonderful rapport with Jasper Jones and his Vietnamese mate Jeffrey Lu played by Harry Tseng.  Their relationship of young teenage boys was played with honesty and captured our hearts.  Their adventures outlined the issues of 1965 succinctly - the bullying and racism,   Their sense of adventure and super-hero antics captured the school yard conversations and imagination.

The remaining cast varied in their roles - some becoming cartoon-esque and others not quite capturing the coldness of authority required.

The real star of this production is the director Sam Strong who has assembled an incredible technical crew to bring his vision to life.

Set and Costume Design by Anna Cordingley captured the essence of a small Australian town.  The revolving set with dam on stage right and the dug up ground on stage left created an additional element of realism.  We saw "Masquerade" which also used a revolve effectively for transitions and scene changes.

Anna Cordingley's costumes gave the impression of 1965.  A shame they did not use the plastic sandals instead of the more modern sandals.

Lighting Design by Matt Scott enhanced the atmosphere.  The emotional context was used effectively in the colours chosen to light the cyclorama backdrop.

The Composer and Sound Designer, Darrin Verhagen captured the spirit of youth, country parochialism and isolation.  The planes flying above sounded so real as they flew overhead creating a sense of menace and urgency.

The Director, Sam Strong has used transitions between scenes seamlessly.  The entrances and exits of characters around the revolve emphasised the town of Corrigan.  The ending of Act One and the opening of Act Two was magical as if we had just had a television advertisement break.

We saw Sam Strong's production of "Masquerade" and his trademark of seamless transitions is to be admired.

Sam Strong  has enabled his young actors to physically and emotionally attach to the awkwardness of being a teenager.

The reveal scene of Charlie's mother was lost by about ten per cent of the audience as they could not see what was happening.  Some audience members were laughing and others curious as to what was happening.  This was a design and sight line issue.

Classic iconic images of Australia were used throughout the production.  The push lawn mower and the cricket stumps are two examples that were used effectively.

The secrets and story surrounding Jasper Jones are touching.  There are some cliches in the story telling but it is a good yarn.   The scene when Jasper and Charlie confront Mad Jack Lionel is given away very early if you listen carefully.

The denouement scene by Eliza Wishart played by Taylor Ferguson lacked the intensity of revealing such a dark secret.  The delivery was measured and lacked an emotional depth of distress.  It even lacked a suppressed lack of distress.  Taylor Ferguson played the dual roles of the sisters Laura and Eliza.  She made a clear distinction between the dual two sisters and made me double take if it was in fact the same actress.

The ending is satisfying without being patronising.  We all have secrets from when we were teenagers.  I think it does leave it open for a follow up book - but then again that may spoil the magic and mystery of "Jasper Jones".

Overall my partner and myself both agreed this production deserved a 7/10.

Masquerade, Sumner Theatre, Melbourne Festival, Sunday October 25th 2015

Masquerade, Sumner Theatre, Melbourne Festival, Sunday October 25th 2015

"Masquerade" by Kate Mulvany and based on the book by Kit Williams was presented by the Griffin Theatre Company and the State Theatre Company of South Australia at the Sumner Theatre, for the Melbourne Festival, Sunday October 25th 2015.

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 love to reminisce about the shows I have seen over my lifetime.  I mainly write this blog for my own memory and it is wonderful to share it with people.  As I have been writing this particular post, my enjoyment for "Masquerade" heightens.  My memories are consolidated.  My heart soars and my soul is nourished. (I wrote this paragraph and could not decide to put it at the end or the beginning.  I chose to place it at the start to give context of why I adore my theatre, and also why I whine about mobile phone usage during a show!)

Kate Mulvany transports us into a world of both realism and fantasy.  It is a world of hopes and dreams, disappointments and mortality.  She has adapted the book by Kit Williams and interspersed her story within this play with music.

The opening outline of the proscenium arch of the theatre is superbly designed with lots of letters.  I knew there was a hidden message in there somewhere, even though I had not read the book.  It instantly created an atmosphere of wonderment, intrigue and mystery.  This is what more shows need to incorporate to build this immediate contract with their audience.

The Melbourne Theatre Company has a welcoming foyer with both upstairs and downstairs bars opened.  This is what the Arts Centre Melbourne need to do to ensure patronage particularly at The Playhouse upstairs which is rarely staffed.  John Truscott would be proud of the holistic experience created at this Melbourne Theatre Company venue.

With the announcements they could have asked patrons to turn off their phones and no recording "as it may interfere with the hospital equipment."  This would have garnered a laugh as well as get the "twanking" devices turned off.  Sadly phones were still being turned off during Helen Dallimore's entrance where she picks up the book.   They should have announced which child was playing the part of Joe for each performance too.

It was so hard to hear Helen Dallimore during the opening scenes.  The volume was noticeably lower than Act Two where you could both hear and understand her dialogue.  Either she projected more or the volume was turned up as I could hear every word in Act Two.  I mentioned this to the guy in the sound box at the back of the theatre at then end of the show and he thanked me for my feedback.  He was very obliging and also told me the name of the child actor as sadly two other staff could not tell me.

Helen Dallimore played Tessa the mother of Joe (played by Jack Andrew) with earnest determination and full of love.  She was totally believable as Joe's mother.  The final scene was so beautiful and touching.  Jack Andrew won the audience's sympathy fighting his crippling cancer/illness.  His solo singing was reminiscent of Lionel Bart's "Where Is Love" song from "Oliver".

I was so pleased that the sound levels had improved for Act Two and would love to see this show again to be able to properly hear Act One.  Sadly this was the last performance for its short festival run.

Kit Williams has lots of riddles in the book obviously and we have not read his book.  Sadly the riddles in Act One made no sense due to the volume of the music over-shadowing the singer, or the singer's diction was not clear enough.  I think the riddles need to be repeated for those who have not read it to make some sense.  In Act Two a riddle is repeated and was clearer than in Act One.

Sets and Costumes Designs by Anna Cordingley were terrific.    The central set was a cube frame with extendible steps at the back.  The curtains were hospital green in Act One and red in Act Two. I wonder if she realises the significance that green diffuses the colour of blood in the operating theatres and it is also a calming colour.  The curtains can be pushed across as in a hospital.  In Act Two the colour scheme for the curtains and the bed changes to red and is much more sinister and foreboding. Here the curtains are pulled down as if the world of Tessa has had the carpet swept from underneath her.

The green curtains in Act One also serve as screens to show shadow video images. This is a beautiful piece of stage design that creates atmosphere and movement, and also progresses the story.

Above the central cube area is a large circle that has two banks of lights, one representing the moon and the other the sun.  At one stage these two light banks pass each other to create an eclipse.  A lovely piece of theatre lighting and stage design.

The large cube frame is central and stands on a raised platform that houses a revolve.  This is used effectively for changes of scenes and location.  The five piece band is located on stage left.

Costumes also by Anna Cordingley were clever from a theatrical perspective and practical for the numerous quick changes.  Penny Pockets played by Zindzi Okenyo wore the most elaborate costume being a full skirted dress with lots of pockets full of characteristic items.  The curly long wig and the large glasses created a larger than life character.  The special touch was incorporating the trick of the eye ball falling out of her head.  On her next entrance the left frame of her glasses had a black patch resembling a pirate.  A magnificent piece of complete costume design.

The Pig costume was effective as a simple step into costume with braces.  Gloves to create pig's trotters would polish this costume.  The Hare costume for Nathan O'Keefe was also a great piece of costume design, though some gloves for paws would finish this costume.

Costumes for Tessa, Joe and the nurses were all practical that defined each character.

Zindzi Okenyo is a versatile actress playing four different characters.  Her nurse was clinical and not obtrusive.  Playing the role Dawn had a positive quality, while Penny Pockets character could have been more defined physically as a baddie.

Kate Cheel as the Moon created a journey as we watched how the Hare did not pass on her message to The Sun played by Mikelangelo.  The Moon costume reminded me of the "Man in the Moon" dress worn by Gaylea Byrne in "Mame" at Her Majesty's Theatre in 1968.  Kate Cheel worked her Moon dress effectively to be uplifting and hopeful, and then in Act Two she worked her body and the dress despondently and sad.  Her shift in physical moods demonstrated a clear connection to the Moon's journey for children.  I wanted more of this physical clarity with some of the other characters.

The Fish costume worn and played by Zindzi Okenyo was fabulous as worked the costume to create a a character.  The lighting for the fish's entry reminded of the Beatles song  "Octopus's Garden" and "Under the Sea" from "The Little Mermaid".  I thought this lighting effect could have also been ramped up more to create beneath the sea illusion.  Maybe dropping the lights to increase the focus on the projections onto the cube could have achieved this.

The music composed by Mikelangelo was fun and memorable.  I loved the different tunes for the various songs and interludes.  My main beef was that sometimes the volume of the band drowned out the singer/s.  The lyrics were hard to hear.  I would love to buy the "Masquerade" music CD with the lyrics included to add to my Music Theatre collection.

The Barbershop Quartet minus Ali Aba was a good joke.  Though they sang quite flat which took away from their quality playing of various instruments.  In the tradition of "The Music Man" a Barbershop Quartet is slick - visually and vocally.

The violinist role of The Man Who Makes The World Go Round played by Pip Branson gave an honest performance.  When the music suddenly stopped when a mortal died, came as a shock and I was taken aback and emotionally charged.  It was a wonderful and sudden reality check. This was staged with sincerity and compassion without patronising the audience.   It was good theatre to bring us back from the fantasy.  Also having seen so much theatre it is lovely to be transported by such a simple theatrical device.

Pip Branson also played the Newton role reminding me of Professor Ratbaggy from the early 1960's television.  It is such a compliment as Pip Branson transported me back to fondly remember Ernie Carroll playing Professor Ratbaggy using old fashioned pantomime skills.

The wind effect could be ramped up a bit for more effect with both sound, staging and lighting design.  It is very much in keeping with, and pays homage to "The Wizard of Oz."

Mikelangelo played The Sun and The Practical Man.  Mikelangelo is also the composer of this terrific score for adults and children.  Singing wise he was a bit flat but I forgave him as he wrote such wonderful music.  Playing the Practical Man visually could have used more gesturing or posturing be an obvious baddie.  I enjoyed The Practical Man's downfall in Act Two.  The classic three times joke was fun: when he was trying to sell a piece of string as a necklace, then trying to sell pegs as earrings and then a cockroach that was gobbled up by the Hare.  (Mikelangelo reminded me of Bryan Batt from "Mad Men").

The second act had more heart, soul and humanity than the first act which was more clinical in its approach.  I mean clinical in that there were so many elements to get across with the riddles and the characters and the loss of the amulet.  With the two stories happening concurrently it also reminded me of "Matilda" and how they added the extra story into the musical.  Here, "Masquerade would work better in Act One with more clarity of the riddles.

The characterisation of the baddies were not defined enough for identification as baddies.  The closest was the Practical Man who obviously stole the amulet.  The role of Penny Pockets, if intended to be a baddie needs to be physically and vocally nastier.  This is old fashioned pantomime and we should want to boo and hiss the villain and cheer the hero.

The Bag of Dreams prop was absolutely so simple and created so much emotion as each balloon was released.  This section was poignant and very moving for adults;  and also tender and full of hope.  It was one of my favourite moments in the show.

It was lovely to hear children talking to the characters in Act Two, as in the tradition of an old fashioned pantomime.  I wanted more of this with heightened clarity.

The ending is very moving and realistic without being morbid.  The music plays on.  Congratulations to the directors Sam Strong and Lee Lewis.

This show, "Masquerade" will do very well internationally as the book is so well known.

This was our final show for the 2015 Melbourne Festival.

Another year passes and not one show started on time at the 2015 Melbourne Festival.  This show began at about 6.39 pm.

An older lady in about C Row was asked by an usher to stop taking photos at the end.  Maybe a proud Grandmother, even so it is not amateur theatre!

There has been a theme with about five shows testing the boundaries with fantasy and reality, and the contrast between rational and irrational thoughts.

Love conquers all is a lovely theme for this show, along with "never quit"  or "never give in" as in the famous Winston Churchhill speech.

Overall my partner gave this production a 6/10 and I gave it a 7/10.

32 Rue Vandenbranden, Peeping Tom, Melbourne Festival, The Sumner Theatre, Saturday October 10th 2015

32 Rue Vandenbranden, Peeping Tom, Melbourne Festival, The Sumner Theatre, Saturday October 10th 2015

"32 Rue Vandenbranden" by Peeping Tom was a major highlight so far for the 2015 Melbourne Festival at The Sumner Theatre.

I have seen this company perform at a previous Melbourne Festival and they certainly have a flair for physical theatre that pushes the boundaries.  The concept and co-direction of "32 Rue Vandenbranden" are by Gabriela Carrizo and Franck Chartier.  The six performers are credited with both the creation and performance.  Sets, costumes and lighting design supports this production.

We are introduced to a set with one large caravan opposite a duplex caravan in a snowy wilderness. The curtains of the caravans are opened as the windows are closed during a wind storm.  A baby shivers underneath the lone caravan. Above this caravan are two women, Maria Gyselbrecht's character is wearing an evening gown, stilettos and is pregnant; while Eurudike De Beul wears more sensible clothing for this unforgiving climate. Immediately these images provides us with the blur of reality and fantasy. This opening highlights the audience as the voyeurs on the internal and external worlds of these occupants.

We are introduced to the two new occupants who will share the other half of the duplex caravan. One man stands upon the lower back of his fellow traveller who happens to also carry large backpacks and three suitcases.  Their entrance is magical and memorable in theatrical terms.  They have a wonderful duo entering with their baggage.  It immediately allows the audience to laugh and enter into this crazy world.

The baby under the caravan was so tragic that it was funny. Sadly some audience members could not see this very funny moment of the adult head in a baby's bonnet attached to the body of a doll.  I began to wonder about the connection to the pregnant woman above.  Was this to be the baby she did not want?  Was she really pregnant?  Was it her wishful thinking to have the baby of one of her neighbours?  Was this baby her miscarriage?  Was this her abandoned baby?  All of these questions stirred me at the end of the show.

This production required the audience to consider the main focus of what was happening and to not ignore the other characters.  The subsidiary characters in each scene may have appeared not to be doing much,  when in fact they were slowly transitioning into the next scene.  Very clever in how these transitions occurred and you had to keep looking or you could miss their transitions.  One of the main devices was the use of looking at their neighbours, looking at each other or looking internally. Focus was central to the success of this work.

Another very funny transition was Maria Gyselbrecht's character who began by sipping on her bottle of water. She then began to spray water from her mouth on the internal windows and began washing the windows in creative ways using various parts of her body. Her cleaning counter-pointed the main serious action outside.

The duet by Carolina (Maria Carolina Vieria) and her partner Jos Baker was sublime.  She is so physically agile using her gymnastics training.  He used his strength and control in winding and unwinding both their bodies while Carolina maintained one position.  This was clever and exploratory and not boring as choreography of this type can become.

Jos Baker's solo of writhing his upper body and then alternating to his gyrating pelvis was brilliant.  His timing and pulsations were both emotionally exhilarating and draining to watch.  It was as if he were possessed.  There was the magic of theatre in that later his chest was wet, though not during this writhing sequence.  Later Jos Baker shows us his nimble sleight of hand and dexterity with his magical cigarette sequence.

Seoljin Kim's solo with his backpacks rolling around the snow covered ground trying to regain his balance was fun and good old vaudevillian slapstick.  Seoljin Kim would visit Maria Gyselbrecht in her caravan on a few occasions.  His longing and desire would result in a soul searching and deeply grieving solo where he removes his bleeding heart. Eventually his character dies of a broken heart.

Maria Gyselbrecht has a rendezvous with Jos Baker and the magic of the hidden door is used.  Again this sequence blurs reality versus fantasy.  Was her visit a memory, wish or a desire?  The hope and despair of each character is highlighted by their interaction with others and in their individual solos. Maria's aloneness is shown in her introspective moments in her caravan.

The masturbation solo by Hun-Mok Jung was ridiculous in the cold environment.  What made it funnier was the three tourists or by-passers.  They stopped and stared at his antics and showed us how we as the audience were reacting.  They mirrored our reality of the absurd situation.

Hun-Mok Jung also performed a karaoke sequence which was reminiscent of the Decore shower advertisement.  We see his character throughout via his smaller window.  He begins by singing into a real microphone and then progresses to use the shower head to sing.  Still singing into his shower head he goes outside to put out the garbage.  He encounters the other characters who are also putting out their garbage/ trash or rubbish.  It is a universal moment of being caught in public doing a very private behaviour.  Exposed, embarrassment and empathy: we have all been in a situation that has exposed our vulnerability and we are able to empathise with their situation.   Again this was the mirror of our lives on stage - with the blur of reality and fantasy.

The duet between Maria Carolina Vieria and Jos Baker was brilliant.  Their bending forward and backward was a forehead version of a Kiwi greeting that listed like the Titanic without sinking.  The performers did not show the effort required for such demanding choreography.  Their skills, strength and control created lightness and thus enhanced the humour.

Some sequences were repeated during "32 Rue Vandenbranden".  Those repeated by Maria Gyselbrecht reminded me of Natasha Herbert's tripping moment from Jenny Kemp's "Black Sequin Dress" performed at the Playbox Malthouse Theatre.  Here we are reminded of the blur between memory and reality, and private versus public memories.

The theme of baggage is shown in various ways by each character, emotionally or physically. We have the relationship baggage with the family abuse section.  This was incredibly well choreographed in that the shock waves had repercussions throughout the community.  Each of the characters felt the ripple effects of the blows inflicted by Jos Baker upon his female partner, Maria Carolina Vieria. This violence sequence had all the characters pulsating the abusive rhythms and exacerbated the ferocious brutality.  As these other characters observed the beating, they were helpless to render assistance as they too were caught up in the rhythms of the cycle of bureaucracy.  Do I get involved?  Is it really happening?

Great special effects were used throughout the show including an umbrella that turned inside out with the wind.  This umbrella appeared to rain upon itself.  We thought the water was stored in the handle of the umbrella.  A magical moment.

The wind and the garbage being blown across the stage at the start was simple and effective.  Later we see this garbage in the karaoke sequence.  The final wind sequence from within Maria's caravan was poignantly clever - as if it was her built up tension and explosion of emotion. This final wind was like her guilt of her miscarriage or the abandoned new born baby.

The confines of each caravan was challenging from a space perspective.  But the entrances and exits through the windows of the caravans was clever and varied.  The entrance of the bride through the curtains of Maria's caravan was hilarious.  The duet entrance into Carolina and Jos's caravan was athletic and gymnastic.  Their duet inside the caravan was dangerously exciting,  I am in awe of their trust and skill in such a confined space.

The singer Eurudike De Beul provides beautiful tunes to counter point some of the action.  Early on she washes herself in the caravan which is one of those transitions that many may have missed.  At one stage she stood on top of the couple's caravan holding two items as if she was the Statue of Liberty.  Both a ridiculous and fun image of her choice to do what she wants, when she wants.

There are so many other wonderful memories of the gun section and the impending fear within their environment.  The looking at beyond the audience searching for the fear.

The production finished as each caravan closed their curtains with stillness in contrast to the windy opening of curtains and closing of windows.  Each character is free to do what they want and will not be limited in this harsh environment.  Shut in but not shut out. Shut out but not shut in. Trapped within ourselves or free to express ourselves.  This production allows the characters the liberty to develop their own reality.

Programme notes:  It would have been beneficial to have the photos of the performers in the programme to enable the audience to put names to faces.

The finale was superbly choreographed with each performer maintaining their character.  Seoljin Kim's character had died, and Maria lifts his head up for audience acknowledgement during two curtain calls.  This was a graphic and compelling curtain call and sensational theatre as the performers maintained their characters.  The audience kept applauding, showing their appreciation for this superb show, as finally all performers stood out of character for the final curtain calls.

The cast "iced the cake" as they brought out a photo of the performer Maria Otal who died ten days before the premiere of "32 Rue Vandenbranden".  It was a fitting and generous tribute to their colleague to share with us, the audience.  Thank you!

As Hun-Mok Jung exited on the final curtain call he mimed the universal hand gesture of "call me" which related to his poster on the outside of his caravan.  A memorable exit and close to a great show.

"32 Rue Vandenbranden" is an example of what makes the Melbourne Festival my October destination each year.  Over thirty years there have been more misses than hits and this production has certainly provided a 2015 highlight.  It is gems like this show that make persistence worthwhile.

I gave this production 8/10 and my partner gave it an 8.5/10.