Fire Gardens, Compagnie Carabosse, Melbourne International Arts Festival, Royal Botanical Gardens Melbourne, Thursday October 11th 2018

Fire Gardens, Compagnie Carabosse, Melbourne International Arts Festival, Royal Botanical Gardens Melbourne, Thursday October 11th 2018

"Fire Gardens"was presented by COMPAGNIE CARABOSSE for the Melbourne International Arts Festival at the Royal Botanical Gardens Melbourne on Thursday October 11th 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.

I wrote the following onto Facebook and relish the experience:

FIREGARDENS for the Melbourne International Arts Festival gets a 9.5/10.  The only downside was the signage beforehand directing patrons to the entry.  Plus, there could have been some signs to direct traffic to maximise your journey, as there are a couple of loops that some people may miss. It was a wonderful meandering 85 minutes walk.  So glad we did the 7.30 pm show to see twilight and the lighting ceremony, and then darkness to see the contrasts. This would suit one or two sections of New York's Central Park.  Melbourne is so lucky to have this event.  This is the clear standout for the 2018 festival so far.

Congratulations to the French artists, COMPAGNIE CARABOSSE for such a wonderful experience.

GREAT VALUE at $25.00 per person.

Overall, a 9.5/10.

Note:  "Fire Gardens" was called FIREPLACE elsewhere.

Madiba The Musical, Comedy Theatre, Tuesday October 9th 2018

Madiba The Musical, Comedy Theatre, Tuesday October 9th 2018

"Madiba The Musical" was presented at the Comedy Theatre by producers - The Prestige Presents, You Prod and Broadway Mad on Tuesday October 9th 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.

Arriving at the Comedy Theatre at 6.20 pm for the 7.00 pm show I did not expect to be able to buy a programme.  They were not available in the foyer at 6.28 pm and the concession stand was behind the closed doors as is often the case on Broadway.  I like to be able to read the programme prior to seeing a show.  Not having a programme available reduces the likelihood of patrons buying a copy.  I was told by the two ushers "that they will be available in a minute".  I went back a few minutes later, and still the programmes were not available.

I asked to give them the money to buy one for me on the other side of the glass door.  Again - declined.  At this time - I am not amused.

Finally the doors opened at 6.40 pm and I could buy one - but I had to have my ticket scanned.  The inside of the theatre is too dark to read, and I wanted to read the programme in the light.

The programme is good value with the detailed notes though some standard credits such as lighting, set and costume design are missing on page three.  The fuller credits are located at the back of the programme.  There are two pages of advertisements compared to some programmes that are full of advertisements.  The use of the South African flag's colours was appealing and relevant for the show.  Spell checking was needed for the occasional error before publication.

I must say the magnets are better value at $5.00 Australian compared to $10 USD on Broadway for other shows.

The show began at about 7.03 pm, but it was a false start as the producer Neil Croker made an announcement about the perils of live theatre as one actress had lost her voice, and this was to be the 7th performance!  He explained that Ruva Ngwenya would sing this role from the wings but the actress would be on stage doing the moves.  This heightened the audience's anticipation for the show.  Plus, this makes it an even more special event to be be able to "say we were there the night when... happened."

I can deal with that - as I have seen some great performances by understudies, or people with a script in hand, injured and many other examples.  So my radar and expectations were buzzing with anticipation - as I know how the cast must be feeling a range of emotions - excited, nervous, or scared.

The good news is the replacement voice had no major impact on the show.  In fact, Ruva Ngwenya did a marvellous job filling in, and also performing her own role of Winnie Mandela.

Sadly there was no pre-show announcement about the use of phones and recording etc.

"Madiba The Musical" has been co-adapted into English by Dylan Hadida and Dennis Watkins from the original French production by Jean-Pierre Hadida and Alicia Sebrien.

Directed by Pierre-Yves Duschesne and Dennis Watkins they deliver a show that has more focus on the effects and impact of Nelson Mandela, rather than on getting inside the man himself.

The opening number was lively and set the scene, though towards the end of this routine there were a few of the cast bumped into each other.  I can forgive this as the cast were on high alert to deliver a good show under the circumstances.

The Sound Design by I assume is The Head of Sound, Evan Drill needs to ensure the clunk-i-ness of turning microphones on and off is fixed urgently.  The actual sound quality is awful at the best of times, for example a performer would enter and begin speaking and then their microphone was turned either on. or, up in volume.

Singing by the cast was tuneful and melodic, but it should be been inspiring.   The size of the three piece band needs to be expanded to give a richer and more dynamic sound to the musical score. The score needs re-orchestrating with a larger band to bring out more African flavours.

The Lighting Design was very ordinary with a lack of focus on characters or location.  There were so many missed opportunities to create a unified production with all departments.  The ending with the South African coloured spots could have resonated more to create a final South African flag.

The first act is a mish-mash of chronological events that you blink and you nearly miss them.  At the 53 minute mark I felt the first inkling of compassion and emotion and it was with the secondary story line of Helena Van Leden played by Madeline Perrone and William Xulu played by Barry Conrad.

Act Two delivers the next slice of an emotional roller coaster during Scene 4 where Helena Van Leden played by Madeline Perrone and William Xulu played by Barry Conrad are in a park in Johannesburg with a park bench clearly marked "Whites only".  

Helena's reunion with her father in Scene 8 is the highlight of the show.  This is clearly where the impact of Nelson Mandela bears fruit.    The trio "It's Time Now To Forgive" was the most stirring song in the show.  For this the price of my ticket was worth it.

Helena's father, Peter Van Leden was played with sincerity and conviction by Blake Erickson. His South African accent did not waver, nor did his resolve in his character's work.  Blake Erickson showed us an emotional and reflective struggle for his character's journey.  Playing the father Peter and his relationship with both Helena and William made seeing the show worthwhile.

I understand the historical significance of Nelson Mandela and admire him for his humanity and leadership.  Oddly enough and surprisingly, I felt more compassion for the secondary story line of Helena, William and Peter.

I think the book needs reworking to heighten the focus on Nelson Mandela and to increase the drama for this young couple with more potential consequences that were brushed over in act one.

The staging at times is very clunky.  The visuals projecting the years onto the cyclorama are flashed too quickly - blink and you will miss them.  The minimum five second rule for visual needs serious consideration to frame the time/year or location.

Segues between scenes needed more direction and coordination of lighting, sound and choreography to create a unified and cohesive production.  Many times our focus was drawn to the the entrance and exit of the sets rather than the story or the characters.

During Act Two, Scene Seven where Nelson Mandela is released from prison, there is a lack of theatrical co-ordination in the emotional thread of the story.  We, as the audience, wanted to relish in this emotional and historic moment, were denied this historical moment with the clunky staging of the sliding of two prison gates joining together and the cast walking on from the wings with Nelson Mandela.  Whew - this was awful.  Then it became corny with the dancers breaking through the gates to dance in gumboots.

Maybe Nelson Mandela could have made a slow walk of freedom in a tunnel of side lights would have made more of an emotional impact.  Then bring the two jail gate trucks together to see him to walk through.  Or bring the trucks together and have him walk to them slowly with the waiting crowd downstage to greet him.  But NOT - just all walk on together - as it looked like another high school production moment. More thought was needed to make the audience feel some emotional connection.

Refer to Lindsay Kemp and his famous "Flowers" walk, or the entrance by Helen Buday as Eliza in the 1988 production of "My Fair Lady".  However the choose to stage Nelson Mandela's release from prison - please re-stage this scene!

Costumes by Sabrina Gomis Vallee were not fitted for some performers.  The worst example was when Riley Sutton wore a jacket that was too long and baggy and swam on his body.  I appreciate the coat covered up his previous costume but this just looked ridiculous as if in a high school production.

Choreography by Johan Nus varied in tone for different scenes.  There did not seem to be a cohesive framework to suit the show.  Some performers were not able to accurately replicate the steps.  I understand the various abilities and skills, but when there is an ensemble number for all performers - they must be drilled accordingly to be able to execute the choreography.  The slapping gumboot dance reminded me of a mix between German Schuhplattler dance and the big production number from "Mary Poppins" the musical.

The choreography during two solos distracted from the lyrics of the songs.  Maybe the dancers could have been further upstage or in silhouette to frame, but not draw focus away from the songs.

There were some good solid performances but not outstanding enough to enrich the soul.  Of note was Tim "Timomatic' Omaji as Sam Onotou for his enthusiastic performance, while the reserved and understated performance of Perci Moeketsi not only played, but channelled the role of Nelson Mandela.  The Narrator played by David Denis gave a solid performance as if he were a fly-on-the-wall recounting events.

Overall the show was amateurish at times and requires work.

"Madiba The Musical" obtained a generous 6.5/10 from me and a 6/10 from my partner.

Flight, Vox Motus, Melbourne International Arts Festival, Playhouse Rehearsal Room at Arts Centre Melbourne, Sunday October 7th 2018

Flight, Vox Motus, Melbourne International Arts Festival, Playhouse Rehearsal Room at Arts Centre Melbourne, Sunday October 7th 2018

"Flight" by Vox Motus was presented by Melbourne International Arts Festival at the Playhouse Rehearsal Room at Arts Centre Melbourne, Sunday October 7th 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.

"Flight" by Vox Motus reminded me of my childhood when I attended the local carnival in Mordialloc in the mid 1960's.  The memories flooded back where I would put a penny into a machine to see a wonderful short story come to life.  This show was a more sophisticated version of my childhood memories.

"Flight" directed by Candice Edmunds and Jamie Harrison for Vox Motus brings a story to life using models, lighting and sound effects and narration.  The extra physical vibration of my seat was a surprise massage that was quite disturbing to heighten my sensation of the physical journey of the two boys Kabir and Aryan.

Co-designed by Jamie Harrison and Rebecca Hamilton bring the adapted "Hinterland" novel to life.  The models and dioramas are beautifully detailed and the lighting angle varies with each tableau.  The revolving peep show must go around at least twice as I could see other boxes that were unlit.  I recognised by squinting to see some of the tableau that we had already seen on what must have been the second circuit.

Technically it is a more elaborate version of my childhood memories at the local Mordialloc carnival.  But this show had more heart, as it heightened the emotional plight of the children fleeing hostile areas.  The two boys take flight from their home in Afghanistan and make their way to London. 

I felt I wanted more from the ending as I tried to recall the exact words of the ending.  I wanted the final line repeated to allow time for me to sit and contemplate what I had just witnessed.

I wrote the following on Facebook immediately after seeing the show.

Beg borrow or steal a ticket to FLIGHT.

They could have improved the experience by briefing Group A and B beforehand rather than briefing each person as they have to be individually seated. Technically they need to brief patrons if they do not feel their seat after 5 minutes they need to press the buzzer to allow to fix the issue or be re-seated elsewhere. My partner's seat did not vibrate thus reducing the impact of the show. The seat vibrating is part of the experience.

Visually stunning and a very clever piece of immersive theatre. The programme does state that there is a performance every 45 minutes, but the performance takes 1hour and five minutes. They should explain the actual performance lasts 45 minutes but the briefing and the entry and exit requires the one hour and five minutes as each person is individually seated.

Even one usher could not explain the time difference in the festival brochure. I am sorry - who is training these people. They need to be briefed to create a holistic experience for the patron.

The story is moving and is based on the novel HINTERLAND by Caroline Brothers and adapted by Oliver Emanuel.

The dioramas and the technical effects of lighting and sound is totally immersive. A very moving experience.

Overall a 9/10.

https://www.festival.melbourne/2018/events/flight/#.W7m0n_ZuKUk

My Name Is Jimi, Queensland Theatre at Fairfax Studio, Arts Centre Melbourne, Thursday October 4th 2018

My Name Is Jimi, Queensland Theatre at Fairfax Studio, Arts Centre Melbourne, Thursday October 4th 2018

"My Name Is Jimi", a production by the Queensland Theatre was presented by the Melbourne International Arts Festival at the Fairfax  Studio, Arts Centre Melbourne on Thursday October 4th 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.

No programme was available for the production before the show.  The ushers were handing the programmes out after the show.  I can understand why the programmes were held back to reduce any spoilers in the show, and to alleviate any cheating with the audience participation.  I prefer to read the programme notes prior to a show for an immersive experience.  I was grateful to be able to get a programme due to the powerful messages relayed during the show.

"My Name Is Jimi" is based upon a story by Dimple Bani and Jimi Bani, and was co-created by Jason Klarwein for the Queensland Theatre.    

Directed by Jason Klarwein has created a thought provoking and emotional journey for Jimi and his family.  There is no anger and victim-hood in this production, but a journey of love understanding.  

The opening is a ceremonial Torres Strait Island dance that sets the scene.

We are introduced to Jimi's family and his family tree.  We will be tested on all of the different names for the many branches of relatives.  We learn about his culture and it all makes sense when we see their culture stripped away and reinvented with modern attire and contemporary technology.

The show is a bit didactic at times, but has a huge emotional heart sharing the love of his parents and his culture.

I shed a tear or two in respect for his story.  The messages are powerful.  I nearly stood cheering when Jimi was outraged at mobile phone usage and his line about the "fire went out".   Heaven forbid if you leave your mobile phone on during this show!  We need more of this wonderful message of destruction of culture.  I adored his message of respect for culture and family.

I adored another line about culture and life.  That is what this show is about - culture and life!

What made it so potent was there was no bashing or ramming down our throats about the English.  Jimi and the cast resisted being victims.  They stood strong and proud.  I embrace their passion.

There was an incredible respect for his parents and what they achieved anthropologically, culturally and linguistically.

Jimi provides an enraged dramatic exit at one stage that reminded me of the famous exit from the musical "Nine".  This exit in "My Name Is Jimi" has more social importance that demands respect for its message.

The use of the camera, and dioramas, and the projection were captivating.  The use of simple cut out puppets being projected within the three dioramas was terrific, as it also gave us an insight into the origins of theatre.  There were three dioramas: the island and sea; the hut and surrounds; and later an under the sea scene.  These dioramas were so clever in design and application within the show.

Designed by Simona Ceosentini and Simone Tesorieri have provided a holistic experience that encompasses a glimpse of a museum with atefacts above the main stage area; the dioramas transport us with the use of the digital camera, cutout puppets and projections.  Part of the book projection reminded me of "Dark Circus" by Stereoptik. 

The message of the future use technology is hopeful.

The staging at times was a bit clunky, and this added to the gravitas of the important moments in the show.  The staging and performances are raw at times, and this is part of the charm of this production.  We are made to feel part of this extended family without prejudice.

The welcome mat is rolled up to conclude the show, and boy have we felt welcomed!

What a tribute to Jimi Bani's parents and his culture.

Thank you Jimi Bani, Jason Klarwein and the entire cast and crew, a  for such a wonderful journey.

"My Name Is Jimi" is a beautiful show and obtained an 8/10.

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.

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!