Roots, 1927, Melbourne International Arts Festival, The Coopers Malthouse, Merlyn Theatre, Saturday October 5th 2019

Roots, 1927, Melbourne International Arts Festival, The Coopers Malthouse, Merlyn Theatre, Saturday October 5th 2019

"Roots" by 1927 was presented by the Melbourne International Arts Festival at The Coopers Malthouse, Merlyn Theatre, and we attended the performance on Saturday October 5th 2019.


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

"Roots" by 1927 was presented by the Melbourne International Arts Festival after its World Premiere in the UK at the Theatre Royal, Margate in England on October 27th 2019.

Arriving at the The Coopers Malthouse had a more festive appeal compared to the drab un-festive Arts Centre Melbourne.  Banners advertising shows that would appear as part of the Melbourne International Arts Festival adorned the high ceilings in the lobby of the The Coopers Malthouse.  Congratulations as this complex made the effort to create a sense of occasion.

The programme outlined the background to the making of "Roots" and sadly did not list the stories for reminiscing after seeing the show.

1927  set various tones with their choice of stories from the Aarne Index housed at the British Library.

"Roots" consisted of about ten short stories that reminded me of "Fractured Fairy Tales" cartoons and also the twisted adult fairy tales by Gregory Maguire.  Some of the tales are funny while others are much darker in the humour.

"Roots" consists of animation and live action acting and music.  The actors lip-sync the voiceovers and they interact with the animation similar to Gene Kelly in "Anchors Aweigh".  The four performers play instruments and alternate in the acting roles.  The set design is integral to the concept as there are trap doors to allow the actors to poke their heads and other body parts through.  Live action combined with animation was also used in David Atkins' version of "Hairspray" where the set was projected onto about ten LCD screens.  The window opening and telephone ringing sequences from "Hairspray" were the most similar to "Roots".

Some of the stories included the cat who ate everyone and everything.  Stay to the end of the show for a great reference back to the first story.  This was easily the funniest story and audience members were bopping along to the song.  I love that song and want a copy.  This story reminded me of the "I Know An Old Lady Who Swallowed A Fly... I don't know why she swallowed a fly..."

"The Miracle Bird" used a simple set of a white flat where the projections would bring it to life as the back of a settee, or the base of a bed.  A dog in a basket lay stage right with the occasional murmur of movement.  The old couple wore wigs watching a television news item about a miracle bird.  The bird escapes and you can guess where it lands.  The antics are pure magic as we watch greed and jealousy at play.  This story plays with more pace variations and the animation is incredible from a timing perspective.  The performer's interaction with the animation is sublime from a spatial perspective.  The final twist of this story drew a great response from the audience.

"Patient Griselda" was a story about a King wanting a bride that met his very specific criteria. A great twist at the end drew lots of oohs from the audience for its contemporary theme.  We too were "patient" like Griselda as we were curious where this story was heading.

"The Ant Finds A Coin", "Three Wishes", "Poverty" and "The Luckless Man" were some of the other tales.    Each story had their own moral, with some being a little more didactic than others.  What let the show down was the sameness of rhythm and pacing.  The stories that succeeded theatrically the most were those that challenged with pacing, timing, presentation, and humour. Strong endings for stories also enhanced the experience.  The funniest stories received the most spontaneous reactions and applause.  The least successful stories received delayed or lukewarm applause/responses.

Costume Designs by Sarah Munro were simple and clever.  The musicians donned a new outfit for each story to compliment the action.  My favourite costumes included the King's outfit and the musicians wore elaborate outfits that could have been from the Sun King era.  The naked costumes were fun with the genitalia outrageously obvious in different shades and textures that could have come from a knitting or craft exhibition from the Royal Melbourne Show.

The costume for "The Unremarkable Man" was an adaptation of vaudeville half-man/half-woman-costume style visual joke.  Even though the visual "reveal" is a classic joke, the turn enface to the audience received a lovely response as the audience were surprised.

The white face makeup particularly for the opening story created a sense of a simpler era for storytelling.  The performers eyes were so important to convey not only the emotions of the characters, but more importantly their vulnerability as they broke the fourth wall to realise they were being exposed.

Compositions by Lillian Henley created a wonderful potpourri of music that differentiated each story.  I repeat I want a copy of the song from the cat story.  The use of different instruments gave a texture to each story.  These characters were on display at a human slave market with their stories.

Animation by Paul Barritt is a genius for the mathematical and spatial specifics.  More so, his animation created slightly different moods for each piece with the various styles of colour and animation.  The work required for the animation with the story and interaction with the actors is a phenomenal feat of planning and project management.  This co-ordination between all production departments leaves me in awe at their skills.

Writer and Director, Suzanne Andrade has created a terrific piece that I can see growing within the parameters of the set and animation design.

Lighting is paramount to the success of the show as spotlights grow smaller to focus on a character's face.   This vaudeville style lighting works so well in this show to open and close each story.  Childhood memories of "Looney Tunes" cartoons spring to mind with the use of the vaudevillian spotlights.

Our favourite was the opening number with the cat who ate everything.  The other stories were not as funny, but opened us up to different perspectives.

In hindsight, I think some stories were chosen from a personal resonance and were indulgent choices rather than bearing in mind the needs of the audience.  This is both a positive and a criticism as I admired the choices as being personal.  I would love to know why each story was chosen.  This level of detail would engage with me more as it would take an audience on a deeper understanding of 1927's work.

I thought we had seen this company before as we had seen a similar theatre company before at the 2017 Melbourne International Arts Festival using animation for a show called "Dark Circus" by Stereoptik.   This is why we bought tickets thinking that this was Stereoptik with the animation link.  We were still very happy that we saw the "Roots".

"Roots" obtained a 7/10.

Observation and post script about "Roots":

I could see this company adapting Gregory Maguire's "Leaping Beauty".

I would also love a follow up with "Roots" whereby audience members have a code to explore more background information about the stories chosen for the show.  I do not mean an educational pack as per Matthew Bourne with "Lord of the Flies" but an follow up information.


Even though "Roots" had similarities to the Seven Deadly Sins,  I would love to see 1927 do a specific show about the Seven Deadly Sins.    I could see an education pack for the Seven Deadly Sins would be a great companion piece without being too much like theatre-in-education.

Note:

My links are not necessarily those that reflect the stories from the show.

Australian Realness, Malthouse Theatre, Merlyn Theatre, Saturday September 7th 2019

Australian Realness, Malthouse Theatre, Merlyn Theatre, Saturday September 7th 2019

"Australian Realness" was presented by the Malthouse Theatre at their Merlyn Theatre on Saturday September 7th 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.

The 2019 Malthouse Theatre Season included the production, “Australian Realness” by Zoey Dawson and made us wanting a refund for the 2020 Season that we have just purchased. This show is a philosophical presentation of class, the arts and society.

“Australian Realness” made me question how this show even got past a reading, let alone into a full production. This play is so confused in its style of theatre making and messages it is trying to convey.

If you read the blurb by Zoey Dawson in the programme you will understand what I mean. 

Whilst waiting for the show to begin, I studied the set. The vastness of the set alerted me that something was going to happen with the set as there was a cavernous void at the top of the set. I suspected correctly that the set would deconstruct.

It is a confused work as the initial contract with the audience is broken to then become a soap opera type nightmare with characters from the shed invading the family home. But what makes it confusing is the inconsistency in lighting for each of the Hogan characters.

The play tries to be too many things and is in desperate need of pruning and clarification.

The performances vary from cringe worthy amateur to slick and polished characterisations.

In the Malthouse Theatre advertising for the show, the family wear red and white Christmas jumpers that reminded me of the Aldi Christmas campaign 2016 where the family all sing Christmas Carols. Sadly the advertised pictures of this show were not used, nor lived up to the marketing hype.

Performances varied in quality. Four of the five actors played more than one part and some made clear distinctions between their characterisations.  Linda Cropper clearly differentiated each character as mum; and then as Kerry Hogan, the squatter from the shed, and then the art broker/critic. Linda Cropper’s walk as the art critic/broker with her very quiet voice was sheer theatrical brilliant.

Greg Stone made a clear distinction with his dad role and then Gary Hogan.

The son played by Andre de Vanny was cringe worthy mainly for the block shape of the radio mike battery in his underwear. The audience were not concentrating on his performance but at the awful costume. His characters were not distinctive enough in vocal or physical attributes, but at least the costumes made the distinction.

Emily Goddard as the pregnant daughter was the main protagonist and created the main perspective, as the show was both her reality and her nightmare.

It was more the audience’s nightmare at enduring such a middle High School standard of writing.

Set and Costume Design by Romanie Harper created a television situation-comedy style set that pulled apart. The costumes created instantly recognisable cliched cartoon-esque characters. It was a family of the Village People.

Sound Design and Composition by James Paul created a variety of sounds from realistic sound effects to moody music. This too did not help create a coherent journey.

Lighting Design by Amelia Lever-Davidson created different atmospheres, but completely lost the audience at the first major lighting change with Kerry’s entrance. Was this a situation comedy for television? Was it a dream? The lighting plot did not follow the same contract with the audience in establishing clear parameters of what was happening. When the Hogan’s son appears doing a strip the lights black out to the front of stage lighting. When Gary Hogan appears the lighting again does not create that contract established in the entrance of Kerry Hogan. The lighting plot lacked clarity of purpose and vision. It did not articulate when we were in dream mode as clearly as many other shows that I have seen. In other words, the lighting design helped create a confusing piece of theatre.

I did like the stark lighting for when the man (Andre de Vanny) was setting up the art installation. This starkness at least commanded our attention to make us question whether this was reality or fantasy.

The penultimate section with the video sequence reminded me of “Titus Andronicus” at the 1993 Melbourne International Festival  with the van driving out of the theatre. We were taken out of our reality of the theatre into a new reality.  (Note the name of the festival changes between about four names including Melbourne International Arts Festival.  It was just the Melbourne International Festival in 1993!)

The supposed live video shows rubbish piled up with a woman burning page-by-page a copy of “Cloudstreet” by Tim Winton. There were a a couple of references here as “Cloudstreet” had been performed earlier this year as part of the Malthouse 2019 Season, and also the link to the new reality of the homeless.   The daughter realises that this woman was the subject of her photograph. The daughter finds a new reality in understanding what happened to this woman.

The final scene of the house redecorated with an empty set, and the family miming sitting down to dinner with no furniture had us question reality.

Overall, the departments seemed to have worked in isolation rather than in harmony to create a confused work.  Janice Meuller, the Director needed to ensure everything worked to create a memorable work rather than a confusing piece not worth debating.

Never complain about “King Kong” doing 322 performances and 22 previews on Broadway. This show would be lucky to run a week on Broadway - if any producer (of even a not-for-profit company) would allow it to be produced there.

We both gave this a 5/10.

Cloudstreet, Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 2019

Cloudstreet, Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 2019

"Cloudstreet" was presented by The Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 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.

"Cloudstreet" by Tim Winton was adapted for the stage by Nick Enright and Justin Monjo and  was presented by The Malthouse Theatre with Black Swan State Theatre Company, The Merlyn at The Coopers Malthouse, Thursday May 23 and Friday May 24th 2019.

The opening scene was way too loud with vocal levels.  Amplification of voices was unnecessary as the actors projected their voices with purpose.

Matthew Lutton has directed a fine production that resonates with the elements, and the house speaking via two Indigenous actors.

The entrance of when Lester goes looking for Quick and Fish needs a slight change as he masks the central action and turns to discover them.  It is a corny move that can be corrected with Lester searching out into the audience as if looking into the waters, and then turns to discover the boys centre stage.  I spoke to Matthew Lutton at interval and congratulated him on a great production and pointed out the above change.  He liked it and may incorporate it when the show travels to Perth.

The reason why I say this is because the production was nearly faultless.  

Set and Costume Designs by Zoe Atkinson excel in bringing Tim Winton's novel to life.  The house is transformed with sliding walls and a floor that weeps tears for the history and creates so much watery atmosphere.  The images of the cast walking on water at times are as if Lazarus has arisen.  (Coincidentally "Lazarus" the David Bowie musical is playing for three weeks at the Arts Centre Melbourne Playhouse Theatre.)

The costumes bring to life the 1950s' and 1960's.  This is one of the few productions where you could smell the toil and sweat in the heat of the encased in the costumes.  I am sick of seeing beautiful costumes that are too clean for characters.  Congratulations Zoe Atkinson and Matthew Lutton for a truthful depiction of the characters' clothes.

I wrote the following notes on Facebook after Part One:

"CLOUDSTREET: MALTHOUSE THEATRE

I have seen Part One which is acts one and two, and loved it.

The period music sets the tone as you enter the theatre. Sadly, no acknowledgement of the songs/music is in the programme. My mum used to sing these songs so it enhanced the experience of struggle, survival and love.

The vocal volumes are a little loud, and they do not require microphones as the actors project their voices.

Great inventive design by Zoe Atkinson that has many elements that were used in her brilliant designs for BLACK RIDER: THE CASTING OF THE MAGIC BULLETS.

One entrance will gain more gravitas with the atmosphere by having Lester Lamb (Greg Stone) searching for his sons by not masking the action centre stage. Plus it will add to the search and sense of space. A dual lighting adjustment here could also enhance the dual atmospheres.

Great sound effects that create varying atmospheres.

Some of the lighting plot could be improved to create different locations both in, and out of the house.

A beautifully cast production.

Sadly, the programme does not list each actor playing specific roles. For example, list the names of the characters, and others. I want to be able to look back in later years and say a particular actor played a specific role.

I look forward to PART TWO, tomorrow night, that comprises acts three and four.

So far, 8.5/10."

The programme could have detailed each character played by the actors.  I want to be able to look back and recall specific actors played one major role or various roles.  They list this way in commercial productions.

The whole cast were brilliantly suitable for their roles.  Yes, Natasha Herbert as Dolly Pickles was sublime in her drunken and slutty matter.  Alison Whyte was also sublime as Oriel Lamb,  Greg Stone redeemed himself after "The Dolls House Part Two" to play Lester Lamb.  Guy Simon gave a caring performance as Quick.  While Benjamin Oakes gave an honest portrayal of Fish, these two guys had a unique relationship that was not forced but created a connection,

The relationships between these main characters with each other were one of the strongest interconnections I have seen in a production in a long time.

One review stated that Natasha Herbert was comical.  I disagree and  would call her characterisation as the reviewer described, but emphasise that her honesty in portraying these elements was so truthful and recognisable that it was made funnier (or comical).  The way the reviewer made it sound as if Natasha Herbert was playing for laughs.  She was not.

Rose giving birth scene was a stylised transformation with the use of the pregnancy costume becoming the baby and the after birth.  This birth was very clever and one of the best examples of a birth on stage that I have seen.  Not as this same reviewer described the scene as "performed outrageously well".   It was a transformation not an outrage!

Sam Pickle, played by Bert LaBonte, was downstage hidden at a beach house.  This same reviewer missed the point of the two distinct locations that juxtaposed the scene.  The reviewer missed the point, as it was Lester Pickles having sex with Bert's wife, who provided the hideaway for Bert.  So there was more to this short scene than "deflation and oblivion".  I loved the juxtaposition of the supposed tough guy being hidden away by the caring and full of surprises Lester.

Lighting Design by Paul Jackson was more atmospheric and location specific in the second part.  This lighting was better for the third and fourth acts (Part Two) as it created more defined locations that enhanced atmospheres.  

Sound Design by J. David Franze and Composition by Elizabeth Drake enhanced the atmosphere the moment you walked into the theatre.  Sadly, the programme did not name the specific tunes that were used.  I recall the songs and tunes from my childhood and watching old movies.

The Aboriginal and Indigenous themes were beautifully incorporated.  From my memory of the book, they represent the landscape, and the history of the house.

Theatre is a different medium to a book and the production captures so much depth of Tim Winton's novel.

"Cloudstreet" obtained an 8.5/10 for the two parts.

Solaris, Malthouse Theatre , Merlyn Theatre at The Coopers Malthouse, Saturday July 6th 2019

Solaris, Malthouse Theatre with The Royal Lyceum Theatre, Edinburgh and The Lyric Hammersmith, at The Merlyn, The Coopers Malthouse, Saturday July 6th 24th 2019

"Solaris" was presented as a co-production by The Malthouse Theatre with The Royal Lyceum Theatre, Edinburgh and The Lyric Hammersmith, London at The Merlyn, at the The Coopers Malthouse on Saturday July 6th 24th 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.

"Solaris" was presented as a co-production by The Malthouse Theatre with The Royal Lyceum Theatre, Edinburgh and The Lyric Hammersmith, London at The Merlyn, at the The Coopers Malthouse on Saturday July 6th 24th 2019.

Imagine a psychologist turning up unannounced at a space station!  What happens after that is fabulous entertainment.

I have not read the book by Stanislaw Lem, nor seen any of the movies from 1972 or the 2002 version, or any documentaries about this story.  I found the show easier to understand than four reviews that I read in the Melbourne press.

Wow!  We both loved it and challenged with our idea of time and space and motion during the show. The lighting made us feel as if we were travelling in space too.

This production is timely and appropriate as it also honours and pays tribute to the July 1969 landing on the moon mission.

"Solaris" has been adapted into a play by David Greig and I felt the journey into space, the unknown and the drama of the events on board the space station.  I do not care if this play is true to the book or films. as it works as a piece of drama.

Directed by Matthew Lutton, he has used a device to change scenes that felt so much like a science fiction movie.  This similar device of a screen raising and lowering is reminiscent of the scene changes and tabs being pulled across.  Here it works by transporting us into different zones.  The ocean like projections swirled to the point of sweeping me along on a journey.  Sometimes, I felt as is I was wandering between the air locks in the space station.  At times I felt as if I was going along with the flow, then at other times I felt ill and wanted to resist.

(Note, the use of the screen with video was also used this week in the Melbourne Theatre Company production of "Storm Boy".  It was also overused in "Storm Boy" and became obsolete when a scene change occurred without the screen and projections.)  The use of the screen for scene changes was used appropriately in "Solaris".

Lighting Design by Paul Jackson is brilliant as it captured so many atmospheres.  (Excuse the pun!)  The overhead lighting was claustrophobic and stark for the space station.  I felt as if I was on board the space station and observing Solaris, the planet.  I felt the moods with the colour changes.  Eerily, the colour changes mid scene were enveloping that I felt I was not in a theatre observing, but with the crew on board observing.  It was one of the most immersive productions that I have seen in a long time.

The red and blue time were disorientating, and I was compelled to look at my watch at 8.35 pm, and 9.05 pm because I felt lost in time and space.   I had to bring myself back to the reality of being in The Merlyn Theatre.

Sound Design and Composition by Jethro Woodward was brilliant as I had to look around the theatre as the sound was so realistic and haunting.  The subtleties of the directions of sound were off putting and mesmerising, to the point of being hypnotised.

Set and Costume Design by Hyemi Shin were also brilliant.  The capsules and compartments were seamless.  The change towards the latter part of the play allowed us to see the mechanics of the set that again questioned our sense of reality.

Video Effects by Toby Angwin along with the Cinematography by Tov Belling and Katie Milwright added to the eeriness of the VHS tapes showing Dr Gibarian (Hugo Weaving) welcoming and explaining what happened to him.

The synchronisation of the equipment on stage was well executed.  During one scene, something happens and I felt for the actors.  I was sucked in so well as it was part of the story.  The cast, the design team and the production team have all worked in harmony to create a fabulous production.

Acting wise, I loved all of the performances.

Leanna Walsman as Dr Kris Kelvin built up her character over time, by revealing various levels of her personality.  The shock of her arrival on the space station, the different encounters with other characters and her journey had me engrossed.

I do not want to spoil moments, but Keegan Joyce as Ray was like something out of  "Avatar" the 2009 movie,  but without the special cinematic effects.  He did things with his body and voice that were realistic, yet unnerving.

Spoiler alert follows:

Fode Simbo at Dr Snow was terrific, and left me wanting to know more about him.  As did Jade Ogugua as Dr Sartorius was a mysterious character.  I did guess the link to the child, but even so, this did not spoil the journey.  In fact, I think that is part of the story - to make you feel the love, and the other emotions of the characters.  I did want to know a little more about Dr Snow's connection as it was glossed over in about two or three lines.

The Young Girl was played by Flora Feldman at this performance.  She was focused so well on her character and did not break concentration once by breaking the fourth wall. I felt engrossed by her performance.

The play left me with questions that were not depressing, but contemplative about the future of the planet and contact with other realms.  I had questions about two characters, though again, it made me consider different perspectives,

Matthew Lutton and all of the actors, creative and production are to be congratulated for delivering a fabulous journey that was unsettling and also at times uplifting for the human spirit.

My regular beef is please name the characters in the programme, plus include the year, 2019 on the cover.  I had to read another review to get the spelling of Dr Sartorius.  (Did these newspaper reviewers get Press Release kits including the spelling?)

The best part was the show was easier to understand than reviews in The Age, The Herald Sun and The Australian.

This 2019 season is proving to be a winner for Matthew Lutton and The Malthouse Theatre.

Congratulations to Matthew Lutton and the team for being such great ambassadors of the arts with this fine production.

"Solaris" obtained an 8.5/10.

One Infinity, Beijing Dance Theater & Dancenorth Australia, Melbourne International Arts Festival, The Coopers Malthouse, Merlyn Theatre, Tuesday October 16th 2018

One Infinity, Beijing Dance Theater & Dancenorth Australia, Melbourne International Arts Festival, The Coopers Malthouse, Merlyn Theatre, Tuesday October 16th 2018

"One Infinity" a co-production by Beijing Dance Theater and Dancenorth Australia had its world premiere for Melbourne International Arts Festival, at The Coopers Malthouse, Merlyn Theatre, on Tuesday October 16th 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.

"One Infinity" was directed and choreographed by Gideon Orbarzanek, with associate choreographer Amber Haines.  a co-production by Beijing Dance Theater and Dancenorth Australia had its world premiere for Melbourne International Arts Festival, at The Coopers Malthouse, Merlyn Theatre, on Tuesday October 16th 2018.

Banks of seating were positioned at either end of the Merlyn Theatre with a large rectangular staging area in the centre.  There were four instruments placed towards the four corners of the stage.

An announcement in Chinese began the production, and then the English translation to welcome patrons. 

Gideon Orbarzanek entered the space with a translator, who, I think was Gao Jing the Rehearsal Director for China.  They welcomed us to the world premiere and explained the process of what was to happen.  We as the audience would be a part of the performance.

To prepare the audience for the performance, we followed directions from Gideon Orbarzanek to copy the dancer seated in the back row of the opposite bank of seating.  As we sat in Bank One, we copied the dancer in the back row of Bank Two seating.  The movements we had to copy were not difficult but required co-ordination and observation.  Each bank of seating was given an easy first example to copy the dancer in the opposite bank of seating.  The second example we were required to copy was a little more challenging: as you had to cross arms and was design to improve observation and co-ordination skills. The first example for the demonstration drew admiration from the opposite audience members with their applause.  Applause and encouragement came after each demonstration as the entire group of people copying the moves was magical.  These examples were conducted in full light.

During the show, it became obvious that when the lights rose on the dancer in the back row of the opposite bank of seating, they were to be copied, then your bank of audience members were to follow suit.  Occasionally the audience were not in full light, while the dancer they copied was in full light.  Each side seemed to have a different theme of moves.

A group of five dancers was centrally placed on the step like seating.  The dancers from Dancenorth Australia sat on the steps in Bank One, while the dancers from Beijing Dance Theater sat on Bank Two steps.

At times one group of five dancers were featured in the light, to move their hands and arms around the centrally placed dancer.  Then the dancers in the opposite bank of seating were featured.  The structure became predictable, and this was part of the charm, to try to create a unified ensemble (including the audience).

Occasionally the dancers would converge into the central stage area to perform as a duo or as an ensemble. There made some lovely shapes and tableau at times.

The dancers at one stage were prone on the stage and still for a short period.  Gradually they began to move.  They looked like worms writhing across the stage, until they rolled up through the spine to be either upright or semi-upright stance.

Towards the end of the piece, the ten dancers stood shaking and pulsating until they formed a large diagonal formation.  Here the group copied the moves of Mason Kelly to varying degrees of accuracy. Some interpretations of his moves made me question their observation skills. For example, stretched fingers compared to some dancers using curled or spread hands.  I appreciate they are not a corps de ballet for synchronicity, but the theme seemed to be of a shared experience and to perform with your ability level.  I am afraid that professional dancers should be more accurate in replication of moves, as it lost its impact with some sloppy and uncoordinated interpretations. Plus the quality of texture of the moves varied from the leader of the group to some of the other dancers.

The large diagonal turned gradually and a new dancer led the group and was being copied.  The quality of replication was better on this side, though a few dancers seemed to be predicting the next move and the ports de bras was ahead of the leader, as was the shape.

This made me think of the audience and how difficult it is for dancers to copy moves for the stage. It highlighted how much I was impressed with the cooperation and skill of the audience.  In fact, I was more impressed with watching Bank Two than some of the dancers.  This is not to say I did not enjoy the show, I did, though I think it went ten to fifteen minutes too long.

The structure of performance was a bit cliche with the one side, then the other side for either the audience or the dancers.

At times, "One Infinity"reminded me of the work of Ruth St Denis and Ted Shawn and some of their "musical visualisation" work.  There was something about some moves that reminded me of Ted Shawn's book "Every Little Movement" and the nine positions.  This was most evident with the hand gestures of stretching, strumming, curling fingers etc.

At times the show felt a little didactic, but was enlightening for many audience members as it heightened their appreciation of the dancer's skills.

Costumes Designer, Harriet Oxley had the dancers open with costumes that were later taken off to reveal more fitted attire.  Sadly, when revealed the fitted garments varied in quality for each dancer.  The cut of the fabric was wrong in many cases, as some of the shorts had creases that were unflattering for some dancers.  The tops were a little more successful with the lines and finish of the costume.

Lighting Design by Damien Cooper was successfully integrated into the production. The lighting played a huge part of the production and was crucial for providing clues to the audience of when interaction was required.

Music was provided by Jun Tian Fang Music Ensemble.   The most interesting sound was provided by the voice of Xiao Gang to counterpoint the other flute like instruments being played by Genevieve Lacey.

Sound Designer, Jim Atkins provided segues between the music and the action.

The ending was predictable as the audience would be simultaneously performing a united series of moves as per the title of the show.  The other cliches included in the production included the way the lights rose on each side to acknowledge the different seating banks of audience members.  This of course was conducted in stages.  This finale did not build to any united crescendo that I have seen in other works that build to create a unified conclusion.

"One Infinity" could have been a much better work with more integration between all production departments to unify a seamless show.  There was something missing that did not ignite the "wow" factor that should have occurred.

I enjoyed "One Infinity" and it was a unique experience to be a part of this performance. Parts of the show reminded me of another work from a previous Melbourne International Arts Festival where the audience were separated at the Meat Market and the audience had to change sides.

Some people stood on Bank One for the ovations.  Other audience members also stood, including myself, as an "I can't see and I need to see" standing ovation.  More people stood in Bank Two for the ovations, though not all of the audience.  It was not a volcanic eruption of a standing ovation.

My partner and I agreed that it went about ten to fifteen minutes too long.  We both thought the production was under-cooked and under-developed.  The quality of the audience participation exceeded the quality of the dancing.

"One Infinity" will become a successful festival touring production, though it requires some work to create a polished production.  The show reminded me of a 1960's happening.

My partner adores contemporary dance and described it "as a distraction".

"One Infinity" obtained a 7.5/10 from me, while my partner gave it a 5/10.

Germinal, L'Amicale De Production, Malthouse Theatre's Merlyn Theatre, Melbourne Festival, Saturday October 20th 2017

Germinal, L'Amicale De Production, Merlyn Theatre at The Malthouse Theatre for the Melbourne Festival, Saturday October 20th 2017

"Germinal" was presented by L'Amicale De Productions with concept and direction by Halory Goerger and Antione Defoort at the Malthouse Theatre's Merlyn Theatre for the Melbourne Festival, Saturday day October 20th 2017

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

"Germinal" was presented by L'Amicale De Productions with concept and direction by Halory Goerger and Antione Defoort at the Malthouse Theatre's Merlyn Theatre for the Melbourne Festival, Saturday day October 20th 2017

"Germinal" is a very clever piece of theatre that provided a heart and an emotional connection that is so lacking with many theatre productions.  My heart and body is full of electricity after the show.

The opening was playful with the lights going down then tricking us by coming back on.  This lighting sequence was repeated and then went to black out.  The lights came up slowly as if from Genesis and the beginning.

Four people were revealed on stage playing with equipment sliding levers.  Halory Goerger appeared to be having difficulty which could have been a part of the show as he announced this should not be happening.  We are having a few technical difficulties.  A stage manager appeared and they played around with some levers and looked up at the lights and up to the technical crew as adjustments were made.  This disruption could easily have been a part of the show as they were discussing the technical issues as a metaphor about the origins of life - as to whether it was science, creationist, or another possible theory.  I thought that this disruption was a part of the show and loved it.  Though the running time was more than the allotted one hour and twenty minutes that suggested it was a genuine technical hitch.  I would keep it in for the philosophical question.

The banter between the actors is so funny and thought provoking.  Halory Goerger, Antione Defoort, Arnaud Boulogn and Beatriz Setien are brilliant as they work together seamlessly.

They gradually introduced thought, objects, language and so many aspects of life.  The thoughts were written on the back in what could be described as text boxes.  This was very playful with the four characters introduced but only two text boxes were available for writing their thoughts.  They were using their control panels to express their thoughts.  The sequence built organically with structure to allow for various thought processes.  They even played with the concept of ventriloquism and being able to throw their voices or thoughts.. They played with the concept of defining who was speaking as if writing a script and naming the person who was speaking.  They gradually got rid of the control panels.

Beatriz Setien at one stage obtained a pick axe and cut a hole in the stage to reveal a microphone.  An entire sequence followed about finding sound and their voices.  Whoever was holding the microphone had the control and the power.  The discovery of any new object was fascinating and childlike as they tried to make sense and understand what, how and why things worked.  The playfulness of the microphone to tap it and discover that it made a sound intrigued them.  This led to the tapping of the microphone on various objects including each other's head to discover the famous "poc poc" sound.  They played with the microphone tapping it on every object that they had already found.  This was a recap sequence that was so much fun.  Some objects did not make a sound when they used the microphone as in tapping the empty hole.

Using their new found wisdom they began categorising their thoughts as "Poc poc" or "Non poc poc".  It became an academic exercise in the absurd and made fun of any meeting or process.  In particular it created their version of the Johari Window.  "Poc poc" and "Non poc poc" will become in-jokes as was the phrase "Could it be? Could it be?" from Ronnie Burkett and his puppet shows at previous Melbourne Festivals.

The opening sequences of "Germinal" reminded me at times of "Gilligan's Island" or any film/story where the characters are stranded and have to discover their environment and learn how to survive.  Here the cast of "Germinal" were learning about how to make sense of their environment, and as such was deeper than the superficial survival skills.

A guitar was discovered and more antics followed to learn about this unusual object and to learn about musical concepts: rhythm, pitch, timing and harmonies.

They played with singing as a means of communication that suggested musical theatre and opera.

A laptop was discovered to provide order and assist in categorising their findings.  It was a great play on the Microsoft Windows Word format with headings such as Display, Environment, and Language etc.  They played with each of these categories, for example the environments of Forest, Swamp were discovered.  When playing with the language option they started speaking in Japanese.  This was clever and so entertaining.

The setting was three side black walls and a raised stage that was divided into dark grey cubes.  These could be destroyed at will for when the axe was used to reveal the microphone or the pulley system to reveal the sound speaker.

They discovered what could be a pool of water that looked like a spa bath.  One sat in the pool, another dived into the pool and the others then also got in.  They found electronic drums that they played with to introduce other concepts of anger, denial, negotiation etc. This section was like the five stages of grief.

I loved the summary at the end when the "End" was nigh.  The cast summarised the whole show with the aid of all of the words that we were introduced to throughout the show. They created a rhythm and a chant as they played their electronic musical drums. 

"Germinal" is a very thought provoking work that is extremely entertaining.  At no time does it try to dictate to us but rather gets us to think about concepts.

We were lucky to attend a Question and Answer session convened by Matthew Lutton, the Artistic Director from the Malthouse Theatre after the show.  I had to share with them after I heard they do not have theatre backgrounds about "The Serpent" by Jean-Claude Van-Itallie and directed by Joseph Chaikin at the Open Theatre in New York.  The opening sequence of light reminded me of the Genesis section from "The Serpent" from a production in Melbourne directed by Norman Southerby in about 1975.

"Germinal"also reminded me of a live version of aspects from "History of the Universe in 2 Hours" shown on the History Channel.

"Germinal" is a celebration of life and freedom as this cast muse and ponder on the meaning of many concepts, particularly when they summarise the whole show as if in a spa bath.  "Germinal" feels joyful and grateful for life and existence.

"Germinal" obtained a 9/10 and my partner gave it a 9.5/10.

"Germinal" is a great companion piece to this year's show  "7 Pleasures" from the Genesis perspective.

The Season, Merlyn Theatre at The Malthouse Theatre for the Melbourne Festival, Thursday October 12th 2017

The Season, Merlyn Theatre at The Malthouse Theatre for the Melbourne Festival, Thursday October 12th 2017

"The Season" was presented by Tasmania Performs at the Malthouse Theatre's Merlyn Theatre for the Melbourne Festival, Thursday October 12th 2017

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

"The Season" was presented by Tasmania Performs at the Malthouse Theatre's Merlyn Theatre for the Melbourne Festival, Thursday October 12th 2017

Sadly no programme was available for the show.  Thankfully I checked when I arrived home and I had saved my reminder email that provided a link to the online programme.  There must be a link problem as I was unable to print the programme, and I rang the Melbourne Festival and they will send one out to me.  I wonder if anyone else notified them of the problem with the link.

"The Season" is set on Big Dog Island between Victoria and Tasmania and is based on rituals by the Muttonbird People and is drawn from biographical and family histories.   "The Season"  is not an educational play as such, but now has so many people who are interested in the story and history of the Muttonbird People.  Wow! The play may create more tourism for the island!  An entertaining show that is so funny, poignant and educational.  "The Season" is so respectful of the heritage of the Muttonbird People.

The set was very wide and framed the sky and the island with a darkness of open space in between.   The set reminded me of the CinemaScope pictures we would see as a child with the curved screens.

The opening scene was hard to hear as the actors were finding their vocal levels with a full theatre.  A lot of people struggled to hear and the actors needed to project their voices more.  Thankfully as other actors entered the stage, the projection levels improved slightly as the cast developed an ensemble vocal level.

Some of the staging was a bit confusing and the lighting could have supported the story telling with more clarity.  Overall the cast needed to project their voices a little more so as to be heard.  I noticed a few audience members turned to their partners requesting a line repeat on more than one occasion.

The other aspect was when Stella the mother was observing the action and reacting.  At first I thought this was very amateurish and then came to realise Stella was like the mother bird watching and protecting her flock.  If so, this aspect of observing could have been made more obvious that it was a clear directional choice earlier on.  When the three women were upstage cleaning the muttonbirds, then it was made clear that the observing was a directional choice.  If the direction had made distinctly clear earlier on then that would have enriched the experience, rather than be a questionable distraction.

Kelton Pell played the father Ben Duncan with blokey and lovable warmth and sincerity.  He did not overplay the Ocker-isms and was true to himself.  Kelton Pell as dad is the father I would want to have - one that cared for his family, his wife and traditions.

Ben's wife, Stella Duncan was played by Tammy Anderson with compassion and restraint.  Ben's relationship with Stella was part of the soul of this play.  They keep the family together with all of their secrets, traditions and care.  Stella's revenge during the snake-dare-scene tricked the audience.

Nazaree Dickerson played the daughter Lou Duncan with genteel calm and honesty, with a secret bubbling underneath.

Luke Carroll played Ben and Stella's son Ritchie Duncan with honesty.  Handing over of his lucky white glove to his nephew Clay Duncan (James Slee) was the beginning of new generation.

Auntie Marlene (Stella's sister) played by Lisa Maza with spirited humour, directness and played at times to the audience.  Her interaction with the arch rival neighbour Neil Watson was great light relief that later exposed a depth of self reflection and understanding.  Her relationship with her sister Stella revealed more depth to her character.  Her happy exterior was bubbling with issues.  Maybe, Neil Watson and Auntie Marlene are "in season" and "on heat" which is a pun on the play's title.

James Slee played Clay Duncan (Lou's son), and he captured teenage embarrassment during the sex protection talk scene.  When carrying birds he needed to feel the weight of his load to create a sense of reality.  Otherwise, he gave a solid performance.

Trevor Jamieson played the dual roles of Ben's arch rival, Neil Watson and the Senior Ranger, Richard Hadgeman.  His roles were clearly differentiated by his body language, voice and costume.  Trevor Jamieson's demeanour and language clearly differentiated his two characters.  I wish more actors would clearly differentiate between roles when playing multiple roles as did Trevor Jamieson.

The birds were stylistically portrayed using rags.  The various rituals of catching, storing, carrying gutting, cleaning and cooking the birds had a polished stylistic choreography.  When Ben carried the birds I could feel the weight on his shoulders.

Set and Costume Design by Richard Roberts created a sense of space, depth and isolation.  The different layers of canvas laid down created a depth and texture for the sand dunes/hills for where the birds lay. The simple lighting up the holes looked like a mini golf course at times, but stylistically worked to create a sense of location.  The use of the long rag during the snake-dare-scene between grandson Clay Duncan and his grandmother Stella Duncan was priceless with the simplicity of the staging and design.

The use of the 44 gallon drum reminded me of the MTC original production of "Angels In America".

The final scene where Stella made a comment to her husband Ben made my eyes well up.  Their relationship was fundamental to the success of the warmth of this play.  They created an emotional bond that was the benchmark for other relationships.  Their relationship was genuine and heartfelt, not only between the two actors, but more importantly as they connected with the audience.

Lighting Design by Rachel Burke was adequate but a bit clunky in execution at times.  Some clear lighting plots for different locations would have added theatrical depth to the production.

Sound Design by Ben Grant assisted to create atmospheres, a sense of distance and isolation.  Ben Grant also gave us a soundscape to create the sense of the muttonbirds' presence and their departure.

"The Season" is a wonderfully uplifting play that connects individuals, families, friends and communities with the story and themes.  The play is emotionally cathartic and cleansing as the different characters reveal new aspects and secrets.  The characters' revelations mirror and juxtapose the gutting and cleansing of the muttonbirds.

"The Season", by Tasmania Performs deserves to have an international audience but first, could do with some refining from writing, lighting and staging perspective.

The final tableau, where the cast farewell the birds on their journey, flooded back memories of Peter Brook's "The Conference of the Birds" at the HSV7 Tele-theatre in 1980.

"The Season" written by Nathan Maynard and directed by Isaac Drandic is a very good new Australian play.  With some refinement this work could be a greater work.

As I finish my recollections the day after viewing "The Season" , I have a warm glow that brings joyful welling of my eyes.  I wish so much of humanity had the heart and love and respect that is shown in this fine work.

"The Season"  obtained a 7.5/10.  My partner gave this production an 8/10.


Side notes: it was fantastic to bump into Gregory Fryer from 'The Disappearance of Willie Bingham" who I had worked with in 2015.


My partner recognised Rhys from Tuesday October 10th 2017 show "All Of My Friends Were There" and we went up to wish him a happy birthday.  He was with a guy, Jason who was the guinea-pig birthday boy at the previous Friday performance.  It was great to share our varied experiences and what they got up to in the Hummer.  We told them about the birthday boy's bedroom, the barbeque hosted by his Uncle and the speech writing session.  "All Of My Friends Were There" has lived on for the week.

The Real and Imagined History of the Elephant Man, Merlyn Theatre at Malthouse Theatre, Wednesday August 23rd 2017

The Real and Imagined History of the Elephant Man, Merlyn Theatre at Malthouse Theatre, Wednesday August 23rd 2017

"The Real and Imagined History of the Elephant Man" played at the Merlyn Theatre as part of the 2017 Malthouse Theatre Season on Wednesday August 23rd 2017

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

"The Real and Imagined History of the Elephant Man" written by Tom Wright and directed by Matthew Lutton is a tour de force.  I preferred this play to the original play "The Elephant Man" that played at the MTC's Russell Street Theatre in 1980.

The main reasons why we enjoyed this new version were due to the emotional truth that was brought to the performances.  The actors in conjunction with the artistic and production crew have delivered a sensational product that resonated and drew forth my emotional responses.   I had tears flowing on at least two occasions due to the empathy that was built up with the truthful characters and relationships.  "The Real and Imagined History of the Elephant Man" is a true masterpiece of theatre.

Do not get me wrong as I loved the 1980 version of the play, and also the film version of that play. They were historic and luxuriously staged pieces of theatre that were well acted and showcased the freak show, while this new version got to the core of Joseph Merrick as a person.  We got to see inside his struggles and his pain and his impact in a more realistic fashion.

The house lights were still alight as a character slowly crept across the footlights to centre stage in front of the black curtain.  We thought it was a man from the profile and were surprised to see that it was a woman.  What a wonderful introduction to the world of side-show or freak show or carnival.  It was Paula Arundell who opened with a monologue reminiscent of the master of ceremonies for a circus.  Paula Arundell set the scene with her cautious and searching eyes, and her voice that built suspense.

Her exit was feline and coaxing as she lifted the central curtains to create a circus-tent-entrance to the show.  The house lights dimmed to black out and we entered the Victorian smog.  This was a magical opening.

Through a scrim, fog filled the stage with Victorian streetlights to create a realistic streets-cape.  

We were introduced quickly to Joseph Merrick as a youngster with his mother played by the ever reliable Julie Forsyth.

I had tears rolling down my face on two occasions.  I also had tears well up in my eyes on at least two other occasions due to the powerful acting by Daniel Monks.  He created a character full of depth that developed relationships with various characters in the production to enrich our understanding of his struggles.

When Joseph Merrick was sent on his way to fend for himself was a moment of despair as my heart pumped in my chest for his eviction.  He found a place to sit underneath a streetlamp with a blanket showed how cruel life can be.

The mental assessment scene where Joseph Merrick was made to do the word association "parlour game" was a climax showcasing his observation and intelligent.  I had tears rolling down my face at the recognition of how he was so misunderstood and berated for how he looked.  My tears were mixed with tears of joy at how clever and astute and street smart he was in keeping quiet to survive. Joseph Merrick's tirade was poignant to reveal a clever soul trapped in his body.

Agnes, the nurse was also played by Julie Forsyth.  The talking revelation scene was funny and Julie Forsyth played with requisite emotions ranging from surprise to embarrassment to dumb-founded.  The timing between both Julie Forsyth and Daniel Monks was sublime to build a depth to their relationship and create humanity.   This scene had much needed comic relief to allow the audience to take stock of the situation and also to reflect upon our own behaviour.

The medical lecture scene was cruel as it highlighted the display of parading a specimen of a man.  Joseph Merrick was prodded with long sticks as if cattle up for auction in the stock-sale yards.  

The costumes by Marg Horwell were too crisp at times and did not give the appearance the clothes had been lived in.  Set Design was also by Marg Horwell and was brilliant as it evoked Victorian London and the class divide.  This was achieved simply by the opening of the three spaces to create light wells that duplicated as colonnades and as coffin or grave sites.

Lighting Design by Paul Jackson fused together Marg Horwell's designs to create various atmospheres.  The side lighting was reminiscent of torches seeking out buildings, objects or people in the landscape.  The side lighting also reminded me of a lantern seeking safe footing for your next step.

Composition and Sound Design by Jethro Woodward created a soundscape to support rather than overpower the production.  Jethro Woodward created an undercurrent of sounds to build tension and atmosphere.  Some of compositions appeared as a cultural divide of the haves and those who have-not.  Some of the composition reminded me of chatter, gossip and whispering as if we could hear what was being said about Joseph Merrick but we could not quite understand the exact words.

The supporting female cast played many roles but needed to differentiate each character physically and vocally to decrease our confusion.  With clearer distinction between each of the female characters I would rate this production higher.

I would love to see Tom Wright's version of "The Real and Imagined History of the Elephant Man" tour internationally with the sublime talent of Daniel Monks.

Overall, "The Real and Imagined History of the Elephant Man" obtained an 8.5/10 from me while my partner gave it a 9/10.