Since I Suppose, Arts House, Chicago Shakespeare Theater, Thursday 16th October 2014

Since I Suppose, Arts House, Chicago Shakespeare Theater, one step at a time like this, Richard Jordon Productions Ltd and Melbourne Festival, Thursday 16th October 2014

For those new to my blog I write about the holistic experience of attending the theatre.

I tried to book these tickets while I was in Chicago in late July 2014 to no avail.  I was told to wait until I got home in order to do so as bookings were via Arts House and the time delay was an issue as I kept being put on hold.

I managed to book all of my other Melbourne Festival tickets whilst in Chicago.  It was not as easy as previous years as they did not have a dedicated international line like in previous years.  Maybe they fixed this up after I provided them with feedback.

I wrote to the Chicago Shakespeare Theater telling them how eager I was that they were coming to my home city. Being in Chicago at the time I had to go past their theatre at Navy Pier and savour the moment - knowing they would be coming to Melbourne.  They were showing the cut-down children's version of "Seussical: The Musical" playing at the time.  I had seen the full version and did not want to see the condensed version.

This Melbourne Festival brochure describes this production as "stolen tale from Shakespeare's "Measure for Measure"."

There are aspects to building excitement around a production with marketing and publicity.  I love the description in the brochure and the subsequent follow-up emails.  Not one, but at least two emails to ensure that you knew that the starting location is the Melbourne Grand Hyatt's Russell St entrance and the finishing location is in North Melbourne.  Another email outlined some important information about the event and offering a short synopsis of "Measure for Measure" and a link to print a programme in either PDF or Word format.

Wow am I impressed!

But there is more....

There was a follow up phone call by Lexia from Arts House on the morning of October 16th making sure that we had received the email and watched the video to prepare us for this exciting event.  What a build up.  No wonder this event is sold out.

"Since I Suppose" is presented by the Melbourne Festival , one step at a time like this, Arts House, Chicago Shakespeare Theater, and Richard Jordon Productions Ltd.  We attended the 6.20pm performance on Thursday 16th October 2014. Performances run every 25 minutes.

In fifty years of attending the theatre "Since I Suppose" is in my top ten theatrical experiences.  I was lucky enough to be able to tell some people at the end that I rated it as memorable as the original Peter Brook's "Conference of the Birds" at the old HSV Tele-theatre in Fitzroy in the early 1980s.

Sadly I cannot tell too much about what happens during "Since I Suppose"  as it would spoil it for others.  But I will be documenting my full experience for historical theatre records.

Upon arrival a the  Melbourne Grand Hyatt  we went up to a desk thinking it was to do with the show, when in fact it was a trio of woman from the Jehovah's Witness God's Kingdom conference celebrating 100 years (1914 -2014). 

How ironic that in the space of five minutes we had one of the greatest designers of fashion who highlights the sexuality of men and women, Jean Paul Gaultier and his entourage wander through.  They were on their way to the National Gallery of Victoria for the opening of an exhibition of his work -"The Fashion World of Jean Paul Gaultier: From Sidewalk to Catwalk."  Soon to wander through the foyer was the androgynous model, Andre Pejic to model both in his men's and women's wear range has just had gender alignment surgery to become a woman and now as Andreja Pejic  These happenings are so relevant to the sexual themes of the show.  What a prologue.  You could not get any better.

In fact the political sexual scandal and events recorded in the Herald Sun and The Age are so relevant to the theme of the show.  Also, in the same edition, the cartoon on page 68 of the Herald Sun  (October 17th 2014) is so appropriate and makes the show such an ongoing experience.  You could not get a better epilogue to a show.

The initial phone call at 6.20pm in the foyer/lobby of the Grand Hyatt meant that this was the first show in the 28 year history of the Melbourne Festival to start on time.  (We have seen about ten events at every festival.)

We advise going to the toilet upstairs prior to waiting in the downstairs foyer.  Also take a small box of sultanas or nuts and maybe a bottle of water with you. Or maybe not if you want to experience potential hunger pangs.

We were welcomed by a voluptuous woman in red. She confirmed our name and "I asked if she were Isabella?" I loved her provocative answer to my question when welcomed "I can be what you want me to be." We were provided with a choice right up front!  Whew - where was this going?

We received our headsets and instructions for using a Moto G smartphone after our initial greeting.  These actors are fine improvisers and ready for any challenge within the boundaries of the theme. 
We are given a device to wear and also warned about crossing the roads and watching our step.  A great example of health and safety.  We were also provided with a help phone number in case of problems.  What if we opted out?  I chose not to ask this as I wanted to experience the event and only use this option via the help line if desperate to do so.  I will be interested to see if anyone does opt out during their session.

We finished at 9.10pm and were delayed due to some traffic delays.  This was about half an hour longer than anticipated and was the only major drawback.

Also we experienced indecisiveness at one venue due to the construction works.  It was roped off all around and we had to find our way.  yes, we could have called the help line but you have to use some common sense and be street wise.  These works were finished a few hours after our venture there.  So you have to be willing to take calculated risks and use common sense.  When in doubt call the help line.

There are ample opportunities to use toilets along the way. Being such a cold night meant the bladder weakened a little more than usual.  Maybe it was the anticipation, excitement or adrenalin.  I think it was all of the above.

You will encounter other people on your journey who will be intrigued with your earphones and your Moto G smartphone. We did look very conspicuous!

Some times you have to walk at a faster pace to keep up with your guide. There are times when for example a shop front has changed name and you have to do a double take to make sure that you are in the right location.

Taking some gold coins may be worth your while.  There may be opportunities to use such - if you choose.  I was engrossed by making a note about my reactions that I regret now I did not think to take the opportunity to spend some coins to record a part of our journey.

There is a list of guardians and performers in the programme.  There has to be minders or guardians looking out for your welfare on the journey to make sure that you do not get lost and are on track.  Some are more obvious than others as we struggle with different aspects of our journey.  At one stage I had gone one step ahead by accident.

My partner and myself use the one, two, three fingers to synchronise our pressing of the stop or play or pause buttons.  This was fun to watch other people's reaction to our obvious choreography.

"Since I Suppose"  is an event.  When attending the theatre I have  experienced many emotions of compassion, empathy, sadness, tragedy, love, joy and laughter.  I have never experienced the range of emotions that I felt during "Since I Suppose."   My boundaries were pushed at times and they could have gone further.  But then I did have the choice to go further if I wanted to. So yes I even experienced some post-show regret. The emotional connections and themes link into  "Measure for Measure" magnificently.

How does it feel to be a part of a sinister plot? How does it feel to not know what will happen?  You are physically guided at times.  Sometimes you are directed, coaxed, persuaded, seduced, tempted, bribed.  It is your choice.  Or is it?

Do not take any valuables with you as you stand out in the crowd.  Even though I safely finished the event does not mean you will. That is why the guardians are so important.

It is amazing as I write this as I want to share more with you but that would spoil the event. 

What would you accept from a stranger? 

Do not attend if you do not like to be challenged with claustrophobia or the fear of the unknown.  But the actors are obviously prepared for any issues as I can attest.  They know how to make you feel safer when you feel unsafe.  They do not patronise you and keep in character at all times.

I love the use of the cards and magic or slight of hand.  You get to keep some souvenirs and I suggest you keep them as they will be sought after by collectors in years to come.

I also got to experience some emotions of pay-back to one performer who challenged me.  By me asking for her identification or my threat to call 000 made her speechless.  It was as if we were not only observers but a part of the action.  After a pause, she quite rightly said that she could call security - she realising that I was playing with her emotions as she and the other actors were playing with our emotions.

I have to laugh about the waste of money on establishing the Myki system and the political dramas that ensued.  How do these link in?  Well in New York it costs less to buy a similar card and only $5 for a Ventura card in Chicago that you can keep.  Imagine having yours taken from you at $16 a pop.  Or are they taken from you?  Are you stranded?  What does it feel like?  Can a Myki card be worth so much? Is your life worth so much? MMMMMM Is this relevant?  Without giving too much away - it all relates to the politics of power.  Maybe our own power.  Are we powerless?  Do we have choices?

There are so many aspects of "Since I Suppose" to be relished.  I think I will always remember the holistic experience from trying to book my tickets in Chicago, to the emails, the build up and excitement, the waiting, the anticipation and the event itself.  Most of all  - are the memories and my notes to record so many happenings.

Our only quibble was getting back from North Melbourne at the end. We were very hungry and it was very late eating at about 9.30pm.   Otherwise park your car in the North Melbourne area before the show.  (MMMMM maybe a Myki card!  That is why a tourist card is so important.)

Congratulations to Suzanne Kerstan and one step at a time like this for sensationally orchestrating such a theatrical event.  It would have been more sinister doing the lone journey in Chicago and thankfully I got to experience it (most of the time) with my partner.

I cannot thank the actors, guardians, technicians and producers enough for creating such a memorable theatrical event. Namely, the Melbourne Festival , one step at a time like this, Arts House, Chicago Shakespeare Theater and Richard Jordon Productions Ltd.


Overall this production gets an 8.5/10.

Dance Territories, Dancehouse, Friday 17th October 2014

Dance Territories, Dancehouse, Friday 17th October 2014

"Dance Territories" was presented at the Dancehouse in North Carlton as part of the Melbourne Festival.

For those new to my blog, I write about the holistic experience of attending the theatre and will not retell the story of any show.

In the Melbourne Festival brochure on page 55, Program Two is called "Rituals for Now" but it is not written anywhere in the actual programme.  It is also advertised to run for 1 hour and 40 minutes. Also why don't they use the Melbourne Festival logo on their programme?

We waited in the downstairs foyer until we were admitted into the upstairs studio/theatre at about 8.05pm.  The performance began at about 8.08pm.  There was no announcement prior to the performance.  Even in the grungiest theatres in Off Broadway they make a pre-show announcement and also talk about the exits in case of an emergency.  I suggest that Dancehouse follows this example.

Upon entry to the theatre the usual professional verification and tearing off the ticket stubs did not occur.  It was like the entry to a poor student theatre production.  It did not impress me.  I like to see confident ushers verifying admittance for security purposes.

At interval I had to ask which dance piece was performed first as there was not a running order on display nor an announcement.  Interestingly I was told two different versions of the running order.  I did not know who to believe until I verified by the programme that the first piece had two people in and had to be Eleonore Didier's "Solides, Lisboa."

The above will give context to not providing a conducive entrée to someone's work and the frame of mind that the Dancehouse atmosphere established.

The stage was a blank floor cloth.  Silence.  A woman steps from a front row seat and begins to crawl on the floor. This is Eleonore Didier who is a fine contemporary dancer with a solid technique. She wears a skirt and blouse. She crawls forward, toward upstage then stage left and in an arc.  There are prolonged periods of stillness when she is on all fours (cat pose.)  The stillness has a slight shake or energy, as we need energy to be still.

I can hear Anne Wooliams cringing as she would have wanted to correct her sickled right foot and extended the line when Eleonore was on all fours position.  I too felt this, as it took away from her movements.  The technique of crawling also changed slightly.  At times it bothered me as the big toe sometimes lead and other times was tucked under. It is amazing what the silence did - highlight aspects of the crawling. 

Again we were introduced to long passages of silences and pauses.  Time for Eleonore to establish a contract with the audience of where this piece may be going.

There was a quicker sequence to get her standing. She took one confident step that seemed to jar.  I wanted a hesitant or tentative step here as it would have made more sense.  This was to come about thirty seconds later and played with our sense of time.

Through the repetitions and pauses and silences I was fascinated with her command of the audience.  It was a simple routine and went for at least 40 minutes.  I did not get bored and was intrigued with her stillness and the mundane.

She strips and bares her body.  Her clothes on the floor.  I was more intrigued by what looked like a bruise on her upper right scapula.  She bared the perils of being a dancer. She brings in a chair and places her skirt then blouse over the top.  Yes a ritual or a routine for some to be neat and tidy while others throw their clothes around.  It gets me thinking that I am glad that I do not throw my clothes on the floor like some people.

It is like a meditation.

She brings on a table with a young man, Jonathon Sinatra who stands by the table.  Eleonore brings on another chair and places it behind Jonathon.  She moves Jonathon to sit him in the chair.  It looks awkward and staged as the movements looked unnatural.  Why not just push him into the chair or place him into the chair as it was set.  It lost flow here and jarred. 

Jonathon sits and does not move.  He is so still and so disciplined in this pursuit.

Later Eleonore does a headstand on the chair and sprawls across the table.  Later she sits on Jonathon's lap and then straddles facing him.  Pauses of course in between.  Are these example of the rituals of seduction or intimacy?  These could be ordinary moments to savour and relish and remember.  These in turn could be moments of an extra-ordinary nature.  They could also be forgettable.

Eleonore is wrapped around Jonathon's torso and he carries her to stage left and stands.  Of course the pause and the silence to accentuate the moment.  She slowly slides down his body.  This was an impressive feat by both dancers displaying trust, strength and control.  He did not flinch and was masterly in his minimalist role.

Eleonore's work is not forgettable.  Reflective and powerful movement in her stillness.

They made an announcement that there was interval for 20 minutes.  Though they could have told us that the second piece was in the downstairs theatre.

Linda Luke's piece followed in the downstairs theatre.  "Still Point Turning" is a bizarre construction that went on for way too long.  Ironically, with so much movement it tired.

Two objects appear.  They could be legs.  Or are they faces?  A body rolls out and the two shoes (like Japanese sandals with faces on their soles.)  These faces seem to speak.  Could they be the dials to the clock?

We see Linda progress to standing and hobbling around in these shoes. It was skilful to be able to move in the shoes.  They are cut off her feet with a pair of scissors.

There is a pendulum hanging down stage right.  Linda Luke moved around the pendulum sometimes tiny second steps, others could be minutes or hours.  Maybe she has studied the work of Ted Shawn and Ruth Saint Dennis or has studied Delcroze Eurhythmics.

She pulled the pendulum and was suspended in time. This was one of the most powerful images.  The pendulum was released and began to swing.  I was fascinated with the number of times the pendulum would swing.  I began to count as the piece became quite dreary.  I watched the piece as I counted up to 920 swings. It was quite hypnotic to be put into a trance like state.

There was some lovely transitions of using the costume to create images of flowers blooming.  Well there were flowers blooming on the screen behind.  The costume by Justine Shih Pearson was beautiful in its ability to be transformed into various shapes and create different moods.

As my partner says if you have to read a programme in detail to be able to make sense of a piece then it does not necessarily work.

The first piece was the stronger of the two.

But two hours for an advertised programme of one hour forty minutes is not good enough.  Especially when the theme was about TIME!

This production overall gets a 4/10.

Debussy String Quartet, Collins St Baptist Church, Wednesday 15th October 2014

Debussy String Quartet,  Collins St Baptist Church, Wednesday 15th October 2014

The Debussy String Quartet played at the Collins St Baptist Church with three different pieces as part of the Melbourne Festival.

The first piece was by Haydn String Quartet No 60 Op 76 No 1 which was played with fine precision and delicate nuances.  I was swept away by the majesty of the music.

The second was the Australian premier of Pecou's String Quartet "Fuga del Son' that did not rely on the traditional bowing of the violin, cello or viola.  Instead they used fingering, plucking, slapping, sliding, thumping, tickling and other techniques to make their instruments sing.  This piece at times had a very South American feel to it and I could easily imagine the dancing in the streets to parts of this music.

The final piece by Debussy String Quartet Op 10 which reminded me of many balletic scores or BBC soundtracks.  This music made my heart and soul soar as I closed my eyes and was swept away.

The only aspect which was very jarring was the viola player wearing a striped jumper while the others all wore traditional blacks.  If he was cold why not wear something underneath or have a black jumper in your wardrobe?  This look cheapened the look of the quartet and his worth, while we heard and saw that his skill was exceptional.

The Debussy String Quartet played with such respect of their scores and had the audience in the palm of their hands.

Overall this production gets an 8.5/10.

Marzo, Dewey Dell, Arts House, Tuesday October 14th 2014

Marzo, Dewey Dell, Arts House, Tuesday October 14th 2014

"Marzo" by Dewey Dell and Agate Castellucci played at the Arts House at the North Melbourne Town Hall.

It was scheduled to start at 7.30pm and we were not admitted into the theatre until at least 7.45pm. The show started 22 minutes late with no apology or explanation.  Why is it that commercial theatres tend to start on time or within five minutes of advertised time while subsidised theatre starts later?

Note that no show has started on time at any of the Spoletto, Melbourne International Arts Festival or as it is now called the Melbourne Festival.  It is rude.

No one took ticket stubs at the entrance to the theatre.  It was a General Admission event and could do what Chapel Off Chapel did for "Carrie: The Musical" and have roped off entry to allow fairer queuing into the venue or similar queuing to any Boradway or Off Broadway theatre.

There was no announcement before the show about the use of mobile phones and cameras. They did have signs on the doors to the theatre but you could not read these once the doors were open. 

"Marzo" used Japanese dialogue with English surtitles. There was no mention of surtitles in the Melbourne Festival brochure when I booked the show.   It was only by chance that I looked up to see the surtitles.

The whole show reminded me of Rosie from The Jetsons meets the Michelin men (from the tyre company) doing a VCE dance project.

The costume designs by Yuichi Yokoyama had a cartoon quality about them.  The best part was the costumes for the main male character, the white beak, the Michelin men and the star. The masks were beautifully designed and constructed. The red and white jump suit had awful lines and was very unflattering with creases in all of the wrong spots. 

The best moment was the entrance of what looked like a fish on stage left and then crawled onto the stage and became a star. At times it looked like a Ku Klux Klan member in black.  This performer was the only one who worked their costume to create a fully realised character and the movements were the most creative and choreographed.  The use of the star costume paid true homage to the work of Alwin Nikolais  (who we were fortunate to see at the first Spoleto Festival in Melbourne at The Playhouse in 1986.)

These performers need to do more mask work or Disney type character work to fully understand how to work their costumes.  There is no real definition of a style of movement without any real clean lines or pure movements.  Even large archetypal movements lacked definition.

The supposed synchronisation of the dance of the Michelin type characters was messy.  They needed to be sharp and precise and the movements were blurred and ill defined.

The surtitles did not always have any relationship to what was happening on stage.  The funniest moment was the "One fig, two ......nine cucumbers, ten winter melons" sequence.  The stance and gesture of the red and white costumed performer with the blue-round-head character was quite funny.  As the "nine cucumbers, ten winter melons" slide came up it was quite an innocent moment, as if bragging about the size of their own genitalia.  I wonder if this was intentional?

It was a stylised production in design but lacked real definition of any style of movement.  There was no drama to their story telling and it rambled on.  The relationships between the characters seemed contrived and the gestures and movements lacked meaning due to some very awkward pauses.

The set and lighting design by Eugenio Resta did not provide great atmospheres. The most interesting aspect was the white backdrop and the floor.  The stark white set with the black tabs had a textured-like rubbery floor.  We could feel the vibrations of the performers as we sat in the front row. 

The curtain calls were very amateurish and reminded me of a poorly conceived student production.

Read the programme notes for more information about "Marzo" as the closest association is that we, as the audience are on another planet watching this very alien production that does not live up to their own notes.

Overall this production gets 5/10.

Have I No Mouth, Broken Talkers, Merlyn Theatre, Saturday October 11th 2014

Have I No Mouth, Broken Talkers, Merlyn Theatre, Saturday October 11th 2014

Broken Talkers is a theatre company from Ireland that presented "Have I No Mouth" at the Merlyn Theatre, Coopers Malthouse as part of the 2014 Melbourne Festival.

We are offered a balloon upon entry into the theatre. There will obviously be some audience participation.  Interestingly enough no one blew them up prior to the show starting. Please take a balloon as I now regret that I did not.

"Have I No Mouth" is an emotional rollercoaster journey for the cast and the audience.  It can be a  challenging and confronting emotional work as it can raise personal connections in this very cathartic experience.  This play is so realistic in presenting a truthful emotional journey that I had tears rolling down my face within the first ten minutes.  It is tragic but there is a beauty within this tragic story.

The play is written and directed by Feidlim Cannon and Gary Keegan. Sound design by Jack Crawley and video design is by Kilian Waters.  Choreography is by Eddie Kay and lighting design is by Sarah Jane Shiels. Costume design is by Emma Downey.

Feidlim Cannon introduces himself to the audience until he obtains a response from the audience.  An immediate contract is established with the audience.  He has revealed himself right up front and expects us to travel on his journey.  He introduces us to his mother Ann Cannon and both their real life psychotherapist, Erich Keller.

We are shown an art video with glasses of Guinness and memorable locations.  It is a very personal journey that is being shared.

The very large space in the Merlyn Theatre has a table and two chairs centre stage.  There is a table of props stage right, a telephone that appears to be suspended in space, a table and chairs with microphones on stage left, a lone red microphone on a stand is also upstage right.  There are two white cardboard cut-outs of what appears to be children.  They have their back to us to later be revealed.  There is so much space between each of these area that I know will be filled with emotion.

"Have I No Mouth" is a magnificent piece of theatre that blurs the edge between documentary and theatre.  Isn't truth the ideal for actors to strive for?  You cannot get more truth than real people telling their story.  But to repeat this story at numerous performances requires delving in and exposing their inner truths. It is performed with such sincerity and warmth.

The psychotherapist, Erich Keller leads us into an exercise to prepare us for the experience.  This is a lovely segue for us to get into the experience that both Feidlim Cannon and his mother Ann had gone through. It heightens our sense of empathy and allows us to get closer to their journey.

We travelled with Feidlim and his mother on their journey of healing.  This show is a part of the healing journey.  Without giving too much away it is riveting story telling that uses many interesting devices.  At times Feidlim is reading transcripts of what his mother Ann had said. The cardboard cut-outs are revealed to be a young Feidlim and his younger brother.

One of the most powerful and emotional connections was when the mother covered the mouth of the cardboard cut-out of young Feidlim.  The older Feidlim was upstage at the microphone and he too covered his mouth asking the most personal question to his mother. He kept repeating the question as a child and not getting the answer he expects.  It was pure desperation of a child not understanding his mother's situation.

The psychotherapist stands behind Ann holding a sieve and snow flakes fall.  Christmas and snow falling are important visuals to the story and to memory.  Most audience members would be able to relate to something significant that has happened in our own lives at a Christmas in years gone past.

Later during an important phone call between mother and son, the same effect with the psychotherapist standing behind (Feidlim this time) holding a sieve and snow flakes falling.  These visual clues assist us as an audience to remember significant emotional moments in the story.

During "Have I No Mouth" the psychotherapist Erich Keller asks the audience to stretch their balloons and then to blow their anger into them.  He demonstrates how we can burst our balloons as if an explosion of anger or we can slowly release our anger from our balloons. As I did not have a balloon I went through the experience as if I had a balloon.  I had a regret that I did not accept a balloon.  But then regrets is a part of the process of grief counselling and healing.

Feidlim is trying to understand why his father had taken photos with him always to the side of the photo and the rest is empty space.  This sequence is so emotional on many levels.  For me the unanswered questions that we wish we had asked some one who has passed away. It could also be the missing link between Feidlim and his father. It is another example of regret.

Sadly a mobile phone vibrated and got louder and louder during the show.  I cannot understand why the person did not immediately turn it off as it completely destroyed the atmosphere in the whole theatre. That is why phones should be off, not turned to silent.

It took a few minutes for the audience to settle and to return to the previous level of connection with the show. 

At the end of "Have I No Mouth" balloons were released.  This was a symbol of healing and releasing.  It was such a shared experience and also a celebration to be allowed to enter into Feidlim and Ann's very personal journey.

This was a wonderful experience and I shall cherish the memories forever.  Thankyou Melbourne Festival and Broken Talkers for this magnificent piece of theatre. "Have I No Mouth" speaks volumes is such an emotionally riveting way.

An aside:

The Malthouse Theatre complex used to have a visual sign stating "Turn off mobile phones prior to entry" at the entrance to each theatre.  These have been removed for some reason.  An announcement was made fifteen minutes prior to the show starting to say that mobile phones need to be turned off prior to entry.  This was too early as people were still arriving. Or, they should have repeated the announcement.

No usher said anything to any patron using their phone in the theatre.  Why then make such an announcement at all?

Overall this production gets an 8.5/10.

Cirkopolis, Cirque Eloize, State Theatre, Friday October 10th 2014

Cirkopolis, Cirque Eloize, State Theatre, Friday October 10th 2014

At the opening night performance of "Cirkopolis" by Circus Eloize three mobile phones  (in Row B in the stalls) were used during the performance.  Only one was caught by the ushers.  Apparently the violator was trying to film the performance.

Interestingly these fine performers dropped the batons twice during the ensemble juggling act.  Even though these performers may not have shown to us the obvious look of distraction, my concern is for their safety and the welfare of the performers. 

During a few of the other tumbling acts there were some stumbles and near misses with catches.  Were these as a result of the distracting lights from the mobile phones?

Mobile phone issues:

The announcement by Arts Centre Melbourne states to turn your mobile phones to silent.  This is not appropriate as the phones light up and cause a peripheral vision distraction.

There was a separate announcement made by Cirque Eloize stating to turn off mobile phones. Why not have a consistent message to say turn them off?

Both need to explain that it is distracting for not only the audience members, but it is a major safety hazard for the performers.

Using mobile phones and other electronic devices can be distracting for other patrons.  It is also rude and invasive.  Their behaviour shows a lack of care for those around them. (See the article in the October 12th 2014 Sunday Age about FOMO = Fear of missing out.)

Enough of my whinge!

Review:
 
"Cirkopolis" by Circus Eloize was presented as part of the Melbourne Festival.  The Artistic Director of the Melbourne Festival, Josephine Ridge announces that "We also bring you a special focus on the changing world of circus - an art form in motion, in which Melbourne excels."
 
We were so fortunate to see Circus Eloize and their unique style of presentation of "Cirkopolis"  which is inspired by Fritz Lang's film "Metropolis." From the opening sequence of a man sitting behind a desk with his back to the audience we were instantly welcomed into a world of deskbound drudgery.  He sat stamping papers as more papers would arrive with a parade of grey trench coats walking back and forth. He juggled the papers in piles and for some reason I was expecting more.
 
"Cirkopolis" is directed by Dave St-Pierre and Jeannot Painchaud. What I loved was this constant theme honouring "Metropolis" throughout the show.  Behind was the black and white video projection that created a sense of space, location and atmosphere. Robert Massicotte is a genius with his clever stage designs and video projections as they transformed us, but did not overtake the action of the performers. 

The opening tumbling act across the table was one of the most magical aspects of the show.  Even though I may have seen some more spectacular tumbling sequences in other circuses, I adored the choreography and the theatricality of the staging.
 
The Cyr Wheel was brilliantly performed by Lea Toran Jenner who made this large hula-hoop dance by itself as if by magic.  It was like a duet with the wheel.  Together they were lyrical and musical.  There was a respect in her relationship with this wheel.  I loved her lines and her ethereal quality. She is so skilful in not chopping off her fingers as she rolls and navigates the Cyr Wheel in various ways.
 
Sadly the group juggling act lost some magic due to at least two incidents of dropping the batons.  I blame the lighting up of the mobile phones as these performers are so well trained and skilled that they can juggle looking elsewhere.  Maybe it was a lapse in concentration.  It is forgivable, but sadly due to the music score they are limited and must continue the show.  This too me takes away from the excitement of the build up to finally achieving success with their trick.
 
The strong man, Ugo Laffolay worked on the straps with his sensational gymnastically toned physique.  When he first took off his shirt the audience all swooned in awe at his musculature.  What was so impressive was his push ups with his legs suspended off the floor in second position (with his legs wide apart.)  There was a competition comedy routine with the clown, Ashley Carr. trying to copy Ugo's routine.  This was fun and we could empathise with the clown as few in the audience would be able to do any of Ugo's tricks.  The aerial strap routine was mesmerising with Ugo's strength, power and precision.  He created clean lines and steely poses that that would cut through diamonds.
 
Later Ugo would  perform handstands on rods.  He took these rods up two, three and then four levels.  The video projection created the sensation of riding an elevator, watching floors drop away as Ugo went higher.  This was one of the most impressive and simple theatrical devices to give a sense of height for those with any vertical phobias.  Again his power and strength were on display with his masterful skill and artistry.
 
The contortionist Myriam Deraiche is statuesque and has a commanding presence. At one stage she is supported by five men as she mounts her left leg into a side split position.  The build up to this finale is what I wanted to see more of in other acts.  I wanted more clean finishes to each act rather than blurred segues to the next act.  I think the audience wanted this too, as they, at times did not know when to applaud.  This hesitation of thunderous applause was due to the lack of exciting and definite finishes.
 
I loved the transitions between scenes and maintaining the "Metropolis" theme of the show.  The passing parade of grey trench coats was used in many inventive ways.

The solo juggler was good and created a build up to his act.  His smile was infectious and he was entertaining with his various methods of juggling. 

The Chinese Pole had some great tricks and the requisite close-to-the-ground stops.  The best part was the changing of positions with the three performers. Believe it or not, I found the choreography and the staging of the set up for the equipment to this act was more interesting than the act itself.

The banquine had some great sequences that kept my attention.  The ensemble worked in harmony to support each other.  They all have brute strength particularly in their wrists to be able to catch one another.  Sadly in the programme we do not have photographs of the cast and they are identified by their speciality acts.  Here most of the cast were involved at some stage in banquine routines.

I loved the clothes rack duet with the red dress and the clown Ashley Carr.  Lovely timing that had us in the palm of his hand. It was a fun routine with a hint of sadness and loneliness. It was hilarious when he put a clothes hanger into the back of his coat and hung himself on the clothes rack.  Beautifully simple in concept and so rich and entertaining.

While some staging intentionally diverted our attention for the set up of circus equipment, other stage actions were a distraction and took away the magic of the setup of, for example the final teeterboard sequence.  The two women on the desk with the central clown took away too much focus from the teeterboard.  Sadly our view was blocked by the antics of the three on the desk and created too much action and lacked focus. 
 The teeterboard at the end came close to being a thrilling finale.   It needed a pause to create a build up of suspense and a pronouncement that they arrested our attention.  To me I wanted some more traditional entrances to build up our suspense. 
I also loved the paperwork theme that was carried through to the finale.

Though the acts were good, I was not on the edge of my seat with anticipation.  I wanted more excitement and my chest pounding with the thrill that other circus acts have given me.  I loved the concept of the show and the constant theme. My favourites were the opening tumbling act, the Cyr Wheel and the aerial straps.

I believe this was their 200th performance of "Cirkopolis" and congratulations to  Circus Eloize on their visual treat.  I look forward to their return and to see their other works.
 
Overall this production gets a 7/10.

Carrie: The Musical, Chapel Off Chapel, Wednesday October 1st 2014

Carrie: The Musical, Chapel Off Chapel, Wednesday October 1st 2014

Finally a company, Ghost Light Productions have had the courage to present "Carrie: The Musical." Presented at Chapel Off Chapel added to the atmosphere due to its satanic themes.

For those new to my blog, I pay for my own seats and I do not retell the story. If you want the story click on one of the links to the title.  I write from a holistic experience of attending the theatre. I also provide lots of links for you to follow if you want further information. Some of the links may appear to be same but there could be a different link for example "Carrie" may direct you to the Broadway site or to another site.

"Carrie: The Musical" is based upon the Steven King novel and the subsequent 1976 movie.  This version is based on the 2012 Off Broadway production. There is the fact sheet of the ill-fated 1988 production on many sites.  There are two other filmed versions from 2013 and a telemovie from 2002. I must be one of the few people to never see any of these versions of the story and it is good to come in fresh, even though I was aware of the basic story.

"Carrie: The Musical" is directed by Terence O'Connell and choreographed by Lisa Minett.  The designs are by Jacob Battista and lighting design is by Jason Bovaird.  Musical supervision is by David Piper and musical direction by Andrew Leach, and sound effects design is by Nicholas J. Reich.

Chapel Off Chapel had multiple shows running on Wednesday October 1st and had three distinct areas roped off that allowed easy access to our show "Carrie: The Musical." This was better than Chapel Off Chapel's usual General Admission system and I hope that they continue this much fairer system of entry for future shows.  It reminds me of many Broadway shows where you queue in an orderly manner on the street until the doors of the theatre open.

There were signs outside the theatre to turn off phones and signify no photography.  Sadly no reinforcing pre-show announcement was made.  This is even more relevant considering that someone had breached an earlier show by trying to film a performance.  "Off" means "Off"!! Not silent or vibration but off as the lights flash up and disturb other audience members as the light catches your peripheral vision.  In Act Two sadly a phone lit up the theatre and destroys the moment on stage.

Act One:

 

Emily Milledge was Carrie White.  She glowed with her holistic presence that oozed a sincerity of the outcast.  She did not flinch in her commitment to being Carrie White.  She allowed us into her roller coaster of emotions.  Emily's performance was beautifully sustained and restrained in any histrionics.  Emily refused to demean herself and ham up this role. She honoured and respected that this is an iconic role to be applauded or derided.  I can only applaud her sincere dedication to her craft to bring levels of depth to Carries' emotional qualities.  Emily's restraint was one of her greatest strengths and this shone though in her singing and her relationship with every other character, particularly her mother, Miss Gardiner, Sue and Tommy.  She created emotional atmospheres and connections to most characters and most scenes.

 

There was electricity created by Carrie and her relationship to Tommy during the "Tommy's Poem" scene due to the lighting and the staging.  More importantly the sincere approach of Emily Milledge as Carrie White allowed us to reach into her heart and soul.

 

Chelsea Gibb as the mother of Carrie, Margaret White provided another level of tension to Carrie's journey.  Chelsea's characterisation was superb in her acting and singing.  Her connection with Carrie created some of the most memorable moments ranging from pure love to desperation.  We were treated to many duets that explored so many emotional levels between the two characters.  Their harmonies and voices creating mother/daughter vocal fireworks.

 

Miss Gardiner played by Kathleen Amarant created a young teacher's altruistic perchance to an ideal world.  Her duet with Carrie, "Unsuspecting Hearts" allowed us to see the support of a teacher.  Were Miss Gardiner's intentions career defining, sincere or manufactured?  Kathleen Amarant gave us a strong character in Act One with beautiful singing.  My concern was that she looked too young and more athletic compared to her students.

 

The ensemble played a variety of characters, mainly students and the choir.  In Act One they sang beautifully and created characters with some individual definition.  At times the ensemble acted like a Greek chorus of observers to the main action.

Chernae Howlett as Chris Hargensen created the spoiled rich girl that wanted revenge on Carrie. She worked well with her equally emotional and intellectually feral Billy Nolan played by Ross Chisari. These two fine actors created tension to the story, and, tension between each other with their motivations.
 

 

Act Two:

A moth made an entrance in the theatre and caught the audience's attention.  It hovered above the orchestra and the stage as if an ominous sign of what was to come.

 

The ensemble singing in Act Two was off-pitch sadly and not up to the standard of Act One.  The duets and solos thankfully were better.

Leaving for the Prom, the connection between Tommy (Jack O'Riley) and Carrie was a bit too familiar to ring true.  There should have been more hesitation with Carrie accepting Tommy's hand. This would have created more tension, texture and drama to the story.  He sang and acted with conviction and needed to brace himself for taking Carrie to the Prom.

At the Prom when the pig's blood has been poured onto Carrie, the students all laugh at her misfortune.  The teachers laughing at Carrie's misfortune was incongruent with their previous behaviour.  Their reaction was to join in with the student's immediate laughter.  A slight pause or reaction to supress their initial reaction and then join in would make this moment even more realistic. This would heighten our compassion and empathy to the situation.  It also gets us to think about what would our reaction be if we were in their situation.

 

Chelsea Gibb was channelling Marin Mazzie in her portrayal of Carrie's mother, Margaret White. (Marin Mazzie played Margaret White in the 2012 Off Broadway production of "Carrie.")  Having seen Marin Mazzie in "Bullets Over Broadway" recently and also "Next To Normal" Chelsea Gibb was to fit into a huge star's shoes.  She did!  Her portrayal at the religious zealot mother was fervent and obsessive, both in her acting and singing. The only aspect that jarred was the incongruent toe-nail-polish that would have been shunned by her character.  A character oversight as she would not approve of Carrie wearing lipstick or make-up.

Overall, I loved Sue Snell played by Hollie James who gave an honest portrayal of a young woman who had realised that she too can mature and change her behaviour.  From her Act One solo "Once You See" she showed us a leader in the making and reminded me of the character Veronica from "Heathers: The Musical."  Hollie James gave a consistently committed performance that allowed us into her personal journey of change.  As the narrator we saw the changes in both chronological order and those counter-pointed with the flashbacks.  There was a natural balance of emotional angst, guilt and desperation.  Her performance was not forced and had an emotional sincerity in allowing us into her inner feelings.

 

The direction in Act One seemed much more focused than Act Two.  The atmospheres and relationships to the characters had more definition in Act One than the less focused Act Two.  This could be due to the abruptness of writing in Act Two to move the story along in a snappy fashion.

I felt the main emotional connections were between Carrie and her mother, and, the juxtaposed back story narration of Sue Snell.

 

The set design was simple and effective.  Though it did worry me about the continuity implications of the Prom lighting plot that suddenly was lifted out of place at an inappropriate time.  Turning off the lights changed the location but suddenly lifting the Prom lights out of context really jarred the sense of time, location and sequence.  Sometimes the old fashioned tab curtains opening and closing give a definite start and conclusion to a scene.  Were the darkened Prom lights meant to provide an ominous mood?  I doubt it.

The other aspect was Carrie's entrance when she pulled out a chair stage left and then sat at the table.  Why didn't she pull the upstage chair closer to the table as it was nearly in place?  This jolted my focus as the chair hit the table due to the lack of space.

 

The lighting by Jason Bovaird  created spot-lit focus on characters at times, particularly Carrie.   The separation of two locations could have been more marked at times.   I liked the bleeding quality of colours with the lighting.

 

The sound effects by Nicholas J. Reich  were eerie and well timed.  They provided us with the theatrical clues to Carrie's telekinetic powers alongside some levitation of the Jesus Christ picture, movement of a book, and the slamming of the three window shutters. 

 

The set design was simple and effective with the use of lockers, a trolley, a table and chairs.   The design of the back curtain shading the orchestra made sense particularly at the end with the opening of the curtain to reveal the vulnerably sullied Carrie.

 

The costume designs bothered me in one way as they looked too much like costumes.  I did like the juxtaposition of Carrie wearing a traditional Prom gown compared to the modern funky outfits worn by her classmates.  Though, I think it would have been more realistic for a Prom to have formal Prom gowns for the girls and Cassie's gown would still have made an impact compared to her modest black attire.  The other students' Prom outfits looked inappropriate for their final High School celebration.

 

I think that Act Two could do with some re-writing to provide a clearer flow for the sequence of events.  Act Two has been revised to the point of clunk-iness.

 

The final scene with Carrie and her mother reminded me of Zoe Caldwell in "Medea" at the State Theatre.    Carrie has been sacrificed to what end?

 

Sue's entrance to discover the wounded Carrie could have been melodramatic.  Hollie James  as Sue showed us fine acting as she held  Carrie in her arms with sincere concern.  Emily Milledge's portrayal of Carrie's death was subtle and not with the theatrical cliché of dropping her arm or head, but was more like a Michael Chekhov death of releasing her soul. Sue's sincerity showed us the emotional angst of humanity.

The narration by Sue was the thread to the story and Hollie James allowed for various time-shifting emotional and relationship connections.
 

The best parts of "Carrie: The Musical" were the five duets between Carrie and her mother, and the honesty of both Emily Milledge and Chelsea Gibb to their characters. They sang and acted magnificently together.  They created emotional connections and atmospheres to transport us on a journey.