The Children, MTC at Sumner Theatre MTC, Tuesday February 27th 2018

"The Children", MTC at Sumner Theatre MTC, Tuesday February 27th 2018

"The Children" a co-production by MTC and STC was presented at Sumner Theatre MTC, Tuesday February 27th 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.

"The Children" by Lucy Kirkwood and directed by Sarah Goodes as a co-production by MTC and STC.  In a nutshell the acting is better than the script.  The direction is laboured.

The logic with the set design is flawed when the stage left door is opened with no change in the lights.  Then suddenly there is a lighting change with a huge doorway lighting effect.  

The kitchen with the table and two chairs made sense while the sole lounge chair screamed unrealistic.

The major visual effect is flawed also when William Zappa who plays Robin sits in a trail of the visual effect.  There is not a trace on his jeans when he stands.

Writing wise, there seemed to be segments spliced together to create scenes and then patched together to create drama.  The play took way too long to get to any potential drama.

The funniest lines were those usually delivered by Pamela Rabe as Hazel, who underplayed her asides to reveal deep feelings.  Sadly these asides rarely raised a vocal laugh as they were the best writing in the play.  Though the asides that were overplayed and made obvious to the audience as "this is a laugh line" rose laughs of recognition.  Sadly these were embarrassing to watch as they were played so much in our face.

The actions were laboured by the over produced and over rehearsed choreographed actions  that there was barely a truthful realism.  Pamela Rabe came closest with her fastidious ways, particularly in the preparation of a meal that took way too long for what was produced.  The best piece of realism was when Sarah Peirse as Rose rescued the dripping lettuce in the tea-towel.  More of these moments were required to save a very ordinary script.

These fine actors are better than this ordinary play and this direction.

What really lost me was William Zappa's entrance with the bike.  He kept carrying it during the welcome scene.  The used the machine to check for any radiation.  Wow!  It read okay!  But later this same man was being checked with the same machine, on the same day and now we have a dramatic reading.  Oh spare me!

The telephone rang conveniently to provide a distraction.  This was another spare me moment!  It was so cliched and the phone call took the requisite amount of time for the reveal scene.  My eyes were rolling my eyes in my head as it was as if this was an undergraduate play.

The accents varied and heaven forbid we had the occasional Canadian or Australian sounding word and phrase.  And they used a vocal coach!

The dance routine scene seemed so out of place and overly long.  Yes the MTC and STC  had to justify the use of a movement consultant.

The set design does not work properly in this theatre with the sight lines as each side of the audience is denied the view of one of the end walls.  The set is set askew with the stage right side further upstage (kitchen set) than the stage left side, that provides some tension.  This tension is then negated by counter balancing the less cluttered stage left side with the sole lounge chair and stool.

I have seen amateur companies do a better job with less flamboyant sets and costumes than this overly produced work.

To top off this we had to endure a very loud ringing mobile phone.  Then there were three other phones that beeped throughout.  Plus two of those flashy watches with computer attachments had to be checked on numerous occasions.  In a darkened theatre these flashy lights are so distracting.  The first loud ringing phone was during a crucial reveal that both my partner and I missed the dialogue.

Overall, this production obtained a very generous 6,5/10.  My partner agreed and said the whole play was too long!

Away, Co-production with Sydney Theatre Company and Malthouse Theatre, Merlyn Theatre, Wednesday May 17th 2017

"Away", Co-production with Sydney Theatre Company and Malthouse Theatre, Merlyn Theatre, Wednesday May 17th 2017

"Away", Co-production with The Sydney Theatre Company and Malthouse Theatre, Merlyn Theatre, Wednesday May 17th 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.

It is June 28th 2017 as I am editing my memories and review:  I am still savouring seeing "Away" by Michael Gow, which is a co-production between The Sydney Theatre Company and Malthouse Theatre.  We saw a performance at the Merlyn Theatre on Wednesday May 17th 2017.  We had seen a production in about 1990 and this play not only survives with time, but actually is better with time.

Design by Dale Ferguson is brilliant.  I had to draw about six images when I got home from the theatre to savour his designs.  Here is a summary of what I experienced: Arriving to take our seats, the stage is an open wooden floor with some exposed wooden poles, There is a cutaway that looks like a coffin, that later becomes a walkway and entrance.  There is a black screen hanging down stage that creates the effect of a letter-box television screen.  The function of this black screen hides one of its functions. I noticed some coils or springs above the wooden beams and did not take much notice as were waiting for the show to begin.  Later, these coils or springs or ropes would create an iconic moment in the play.

The setting is vast and emphasises the physically distance from each character.  At times it reminded me of the original staging of "The Light In The Piazza" at New York's Lincoln Centre's Vivian Beaumont Theater.

A wardrobe is used on multiple occasions for three different scenes.  This wardrobe is also stripped to become a frame and a doorway.  This wardrobe is reminiscent of "The Lion, The Witch and the Wardrobe" as it is a portal to our inner emotions and thoughts.

Dale Ferguson allows the cast to create a small stage that pays homage to the Hamlet episode from "Gilligan's Island".  He has designed a temporary stage that is made of drums, poles, suitcases and curtains.  Not only does this image fit with the "Gilligan's Island" Shakespeare episode but also to "The Tempest" as this portable stage creates a ship wreck and other island images.

The most magical moment is the transformation scene where the set is lifted upward by pulleys or ropes or springs.  Underneath the wooden stage is a white canvas wall, white floor and the open doorway that looks like a coffin.  This doorway is black and was the open cutaway walkway before the transformation.  When light pours through this doorway it sheds hope for the future.  We are seeing life from a different perspective.  This is pure magical design.

The donkey images are Shakespearean from "A Midsummer Night's Dream" which opens "Away". These donkey images appear throughout "Away" in a dreamlike ethereal way.

Dale Ferguson captured the late 1960's with the gold curtain that paid homage to "Laugh In".  The costumes included the daggy swimwear of the period, which got the requisite laugh.

Dale Ferguson's head will be exploding with my superlatives.  His design shows us so many aspects of life as it replicates the iceberg theory: where all of the effort or work is unseen.  Many secrets and emotions are hidden under the surface and suppressed by many of the characters with the main wooden flooring set.  The characters reveal their suppressed emotions and back-stories, as if below the iceberg, after the main set change/transition.

The one design flaw was Tom's schoolbag that was not 1968 vintage and too modern for the scenes. The school bags used are available in many second hand shops, in fact I have two variations in my garage.

Dale Ferguson has created one of the most memorable stage designs that resonates for weeks after seeing the production.  The simplicity of the design is complex in the depth of images and multiple functions he has created.

The play was well acted but the multiple parts by the actors was confusing at times.  Was that the same character or a different character?  The 1990 programme had each character named against the actor playing the multiple roles, while in this production only two actors had this succinct notation. The old programme allowed the audience to understand that the actors would be playing multiple roles.

The direction by Matthew Lutton maximised the use of pauses for both dramatic and comedic effect.  His direction, with some of the iconic moments from 1967/1968, took me back to my childhood: - with the "powder" (Bex) moment, the Dame Patti Menzies moment, the school shoes for Christmas presents and the Dame Zara Bate on the beach moment.  Matthew Lutton has created so accurately this era throughout the use of atmospheres with his fine cast.

The choreography by Stephanie Lake in conjunction with Dale Ferguson's design captured the late 1960's as the cast thrust their legs through the gold curtain that paid homage to "Laugh In".  It was as if I was watching Goldie Hawn, Ruth Buzzi, Jo Anne Worley, Lily Tomlin and Chelsea Brown doing their go-go-dancing opening routines.

Stephanie Lake has the cast traipse around the stage in formation as if a platoon of soldiers in the Vietnam jungle war zone, or the urban jungle of life:  with Coral trying to understand the meaning of life and Gwen trying "to keep up with the Jones".

Stephanie Lake creates sequences that segue between scenes and allow us to appreciate the fragility of life:  Are we living, is this a dream or a nightmare?  It is with hindsight that I have savoured these segues that worm through the play as if a thematic thread to help bind the character's stories.

"Away" is sheer brilliance with every character being away from something.  The young characters seem to be more in touch with their reality, and away from the adults.  The adults seem to be away with the fairies or off with the pixies.

The characters can be away emotionally or physically distanced from another character.  The characters vary in being away by distress, detachment or denial. Some characters can be physically separated or away from another character by age, respect, sexual frigidity, sexual deprivation or the fear of being stalked.

The new Australians Vic (Julia Davis), Harry (Wadih Dona) and their son Tom (Liam Nunan) can be culturally away as they try to fit into their new country.

Vic, Harry and their son Tom are also made to feel away or unwelcome by the inhospitable Gwen played brilliantly by Heather Mitchell.  This tight family unit tries to keep together physically, emotionally and spiritually knowing that bad news was imminent with their son's health.  The family showed strength in keeping hope alive and the threat of Tom's impending death away.  Here, Vic and Harry are fully aware of their son's illness and keep him close to their hearts.  They do not want him to go away.

The principal, Roy played by Glenn Hazeldine had to keep moving away to start afresh as his wife Coral played superbly by Natasha Herbert, was away with the fairies.  Roy had to move jobs and towns in order to survive and appear connected.  The more he kept trying to be connected the more away Coral becomes.  By Roy trying to bring Coral back to reality created tensions and awkward moments that could cross the line into stalking.  By trying to get close to newlywed Rick (a dual role played by Liam Nunan) Coral created more distance.  Rick reminded Coral of her son who was killed in Vietnam.  Again the theme of away is so repeated in so many different ways.

All of the different versions of being away are emphasised by Matthew Lutton's superb direction.  He gets us thinking "where are we away from?" or "who are we away from?" or "Are we away from our own true self?" or "Are we being present with ourselves or others to obtain inner peace?"

The same wardrobe is used as the three families prepare and pack for a holiday.  In the first of the packing scenes, Tom is left stage right observing the action of Roy and Coral packing.  Is Tom now a ghost or an angel?  Is Tom foretelling his future?   It is as if Tom both represents Roy and Coral's dead son looking over them and protecting them, and looking at his fate of what his parents will endure when he dies.

Having Tom observe this action is a magical moment and is the first time this device is used in the direction of the play.  By doing so, Matthew Lutton has cemented a contract with the audience that will be repeated throughout the play: the role of observing from away: "Away" in time, distance thoughts or memory.  Tom is haunting us.  But he could also be guiding and protecting us to NOT be away - but to be connected.

The donkey headed (Bottom) characters reappear as if from a nightmare from "A Midsummer Night's Dream".  This image haunts us and represents memories of both the forest and an uplifting moment of perpetual childhood paying homage to "Peter Pan".  This image is miraculous as it increases the distance between hope and reality for Tom's health plight.

The donkey parade reappearing represents the war zone of every day living for many characters, but in particular Coral's torment.  This donkey parade represents the jungles of Vietnam both a distant war zone physically and in Coral's imagination.  Coral can only know what the Vietnam jungle looked like from the television as the Vietnam war was the first war to be shown nightly on the news (compared to the News Reels at the cinema during World War 2).  This jungle does not make sense at first,  and it is as if we are challenged to also to be away from somewhere, someone or something.

Gwen (Heather Mitchell) played the neurotic wife brilliantly.  She played the hysterical and ridiculous woman who has a lonely, monotonous and empty life.  Gwen was also channeling the Betty Draper character from "Mad Men",

Gwen's husband, Jim was played superbly by Marco Chiappi,  would float along.  Jim appeared to be a weak character and in fact showed us his strength by supporting his wife's issues.  Marco Chiappi's Jim provided one of the funnest moments with his throw-away line about finding his keys after the brilliant hysteria of Heather Mitchell's Gwen.

Heather Mitchell as Gwen, did not draw breath in her rapid fire delivery which accentuated the haunting Vietnam war images for Coral and Roy.  Gwen was trying to "keep up with the Jones" and in doing so created so much inner turmoil and distancing herself from others.  She was keeping the new Australian family away by her unwelcoming attitude and her double standards.

Coral played brilliantly by Natasha Herbert is questioning the meaning of  life and death.  She vacillates between reality, medicated reality and fantasy.  She plays the philosopher and questions the merit and worth of struggling to improve ourselves.  Coral traipsing around the stage had a dual image as if a platoon of soldiers in the jungle searching for answers to how her son died in the Vietnam war, and the urban jungle of survival.

Roy, Coral's husband, was played wonderfully by Glenn Hazeldine  in suppressing the loss of his son. Roy tries to keep strong for his wife, Coral.  Roy confronts Coral with an explosion of pent up emotions as if another Vietnam war image of a grenade waiting to explode and injure the prey-in-waiting.  However, Roy's revelation is cathartic and typical of the 1960's when men did not show their emotions so readily as today. Roy confronted his demons within himself and with his wife.  Roy is at the end of his tether and is seeking a way to allow their relationship to move forward, away from their grief.

Vic, played wonderfully by Julia Davis reminds us that life is a cycle and to enjoy what time we have together as a family. Vic embraces the fragility and preciousness of life.  Vic demonstrates acceptance psychological theory as a way of moving forward and as a coping mechanism. Julia Davis's Vic is not being ruthless but highlights the gratitude of her life with her family and her new adopted home, away from her support back in the United Kingdom.  She is such an understated character that teaches us so much about resolve, strength and resilience.

Harry was played admirably by Wadih Dona with warmth and sincerity.  He supported his wife Vic and they worked well together as a believable family unit with their son, Tom. This honest connection and relationship between the three actors as a family, made it more gut wrenching when this family unit was revealing and living the secret of their ill son.

The three actors playing Vic, Harry and Tom created an honest connection and relationship as a family unit, making it more gut wrenching when they revealed their ill son's impending fate.

My only concern was that Wadih Dona's accent took a scene to develop, rather than instantly recognising a British accent upon his first line and entrance.

Masks of pain are shown through out the production: both the physical donkey mask and the cover-up facade to "grin and bear it" to hide their individual torment.  Each character is hiding something, as if a mask of pain.  This image is highlighted as the characters wear the donkey or Bottom mask to hide their faces.  This image is to cover the shame they feel about their pain, and is another example of showing physical distance and being "away" from their pain.  This donkey mask is used as if hiding in the jungle - Vietnam or urban jungles, in reality or in their nightmares.  The mask is also used as a device to voyeuristic-ally watch others like a fly on the wall in different scenes.  The observing device is mainly performed by Tom as if he is an angel overlooking events of his life.

Tom was giving his parents permission to move on during the final "amateur night" with a set that looked as if it was from "Gilligan's Island".

The final "amateur night" was spoiled by a young lady in the audience texting during this very emotional scene.  She did not try to hide her phone but held it up vigorously and rudely texting with the light distracting many around her.

The final school scene was well staged as Tom was no longer at school.  The final speech by Naomi Rukavina as Meg was delivered with sincerity and honesty and her simple looking away allowed us into her realisation that Tom had now died.  A brilliant version of the ending that captured the soul and essence of being away physically but also being closer than ever to Tom emotionally and spiritually.

In the 1990 version of "Away" Tom said the final speech.  I preferred Matthew Lutton's version as it emphasised the impact of someone dying or going away has on young friends.

Matthew Lutton has captured the essence of grief, during 1967/68 and has presented us with a wonderful meditation on mortality and the fragility of life.

"Away" captures the ebb and flow of life and all of the challenges we are faced.

It was such a coincidence as this day was exactly one hundred days since I had lost my mother who was very supportive of me.  I have suffered incredible grief during my life and my mother taught me to be resilient.  Watching my parents lose a child was gut wrenching.  To lose two was unbearable.   My mother did not deny the life and death cycle as she had lost her mother when she was six year's old in 1933.  My mother prepared all of my siblings with the inevitability of death.   My mother's famous phrase "that's life" was so aptly presented in "Away" and her spirit was ever present.  It was a healing for me to see this wonderful play on such a milestone day as this wonderful cast honoured and respected those who have died and those who have been left behind.

I do not write lightly about this wonderful cast of "Away".  I am still relishing in the beauty of life on June 28th 2017  as I try to finish my review.  (I do not want to finish this as I am relishing my memories).

Thank you to the  The Sydney Theatre Company and Malthouse Theatre, Merlyn Theatr for such a moving production of "Away"that will linger in my heart and memories for many years to come.

I gave this production of "Away" an 8.5/10.  My partner also gave it an 8.5/10.

Facebook post:

I wrote the following on my Facebook page:  "AWAY" by Michael Gow:  The Malthouse Theatre and Sydney Theatre Company have produced a sensational version of Michael Gow's play "AWAY".  I have seen it before and for those who grew up in the 1960s many themes will resonate.  I could easily see this production again.  There is a great interview with Michael Gow that gives insights into the play on the ABC.  So saddened he has now passed on - but wow what a legacy he has left behind with such a masterpiece of writing. Congratulations to the cast and crew.  2017-05-18


Spoiler alert:  The transformation scene is reminiscent of "Titanic- the musical" with the lining sinking, "Sunset Boulevard - the musical" with the set flying in, and "An Inspector Calls" where the whole set collapses.  This scenery change is spectacular in execution and comes as such a wonderful surprise that supports the story by transporting us to the clinical white beach, which can be heaven or hell to some people.  This image of the white set underneath also creates the image of the underworld of hell or fantasy.  Brilliant, sheer brilliance as the design emotionally supports the play.  I have seen so much theater where the design is a marketing tool, here the design is another element which is subtle but integral to the action.

The Maids, New York City Center Theater, New York, Friday August 15th 2014

The Maids,  New York City Center Theater, 

 Friday August 15th 2014

We saw Cate Blanchett when she first graduated from NIDA and now to see her in New York with Sydney Theatre Company is a wonderful experience.  What is even better is seeing these three fine actresses play in Jean Genet's "The Maids" for the New York Lincoln Center Festival 2014. 

Cate Blanchett plays Claire the younger sister of Salonge played by Isabelle Huppert and Elizabeth Debicki as the Mistress at the New York City Center Theater.

I have seen "The Maids" at least three times before in the 1970s, 1980s and 1990s.  So to see one of one of my favourite Australian theatre companies present this play in New York is such a treat.

Each time I have seen "The Maids" it seemed to had a sinister edge and they told the story.  Here, these actresses totally absorbed their roles and lived them, thereby having my total attention and transport me on their journey.

I have been lucky to see Lindsay Kemp's "Flowers" based on Jean Genet's work at Her Majesty's' Theatre in about 1976.  (Double CHECK Date and theatre!)   

I have also been lucky to see the Melbourne Theatre Company present "The Balcony" with many graduates from VCA, WAPPA and NIDA.  A very memorable show that some of the actors nicknamed "ker-plop" for the sound of audience members leaving as their seats made a speedy exir or a definite sound of displeasure at their retreat.  It was their loss as they missed a great work.

Visually, "The Maids" is a stunning piece of theatre with the use of cameras to project close up live action images of the actresses on to the screen.  The images of luxury and indulgence were also projected.  These included the flowers, jewellery, fur coats, designer dresses, gowns and shoes.  We had the obligatory Chanel advertisement - which was as subtle as the play's execution!

The camera in the base of the dressing table mirror gave us extreme close ups of these stunningly emotional faces.

The flowers were like a funeral parlour and the final scene heightened their relevance and their sinister and apparent omnipresence.  This also emphasised the imminent ending.

The use of the off-stage bathroom with the cameras revealed the private moments of supposed luxury and indulgence.  All people go to the loo!  Or "Your shit stinks too" as Aussies would say!  It also reminded me of the Spanish company who performed Hamlet at the Melbourne Festival a few years ago.  This Spanish company demonstrated the ever-so natural behaviour for people to have body evacuations.  The  relevance is like the philosophy of the reality of mortality as portrayed in a still life painting.  Or as Alain de Botton says about pigs they are happy and people who fart together are happier.  This house was like the Mistress's pig sty!

"The Maids" reflects life of greed, jealousy and revenge.  It also mirrors the influence of fantasy as a strategy to cope with their life of servitude.  What is reality?  What is fantasy?  As Solange steps from the white stage down on to the black walkway she breaks through the fourth wall and shatters the mirror.  She shatters the mirror for us and herself.  She teases us with a brief seduction of what is reality and fantasy, and then re-enters the white stage. 

"The Maids" is brilliantly acted by all three fine actresses who deliver a visual treat.  Vocally Cate Blanchett's voice delivers a vast range of emotional responses revealing truth, fantasy and reality. Hostile revenge and the ritual of the sister's ceremony is sinister and child like role playing.

Elizabeth Debicki as the Mistress arrives after the two sisters have cleaned up after their ceremony.  Here we see a spoiled and indulgent woman who pisses on us.  We are beneath her.  But she too longs for something better.  Each character is encaged as highlighted by the glass walls.  They are  trapped and longing for inner peace and happiness.  Money cannot buy happiness.  It is such a wonderfully philosophical work.  They should not throw stones in their glass house! They do not throw the stones but they propel them with explosive force!

Even though Isabelle Huppert's French accent was difficult at times to understand this did not bother me.  Her acting was sublime and her conviction honest.  Some audience members were frustrated that they could not understand her every word.  Her mannerisms and expressions were just as telling and gave me a very clear message of her relationship with the younger Claire and her Mistress.

I have seen "The Maids" three times before and Solange had me believing that Claire had been strangled.  I knew this was an updated version and I was on the edge of my seat watching Claire to see if she was alive.  (I will not spoil the ending.)  Thank you for transporting me on a journey of fantasy and reality and maximising my attention span.

The new translation by Benedict Andrews and Andrew Upton had me in the palm of these actresses' hands.  This version was about fifteen minutes longer than I have seen  and made the journey richer  with action and motivations and thus made it clearer and more sinister. 

The direction by Benedict Andrews was sensationally focused and clever.  He gave us so much action that kept me transfixed by their antics.  I did not care that I could not see from a slightly restricted view as it heightened the sinister nature of not seeing what was happening.  We could see parts of the action reflected in the glass walls opposite, or, on the screen. 

The design by Alice Babidge was brilliantly effective and clean and fresh providing us to be invited into a decadent and indulgent world that would be the play room for the maids.  Lighting design by Nick Schlieper provided clear shifts in focus and transitions of fantasy and reality. The sound composition by Oren Ambarchi gave us an edgy undercurrent of trepidation.

Video design and operation by Sean Bacon allowed us to see the magnifications of ourselves. From the ultra close ups of faces, jewellery, clothes and shoes.  Finally to the obscure still life shots of flowers.  These flowers can be romantic, celebratory and funereal.  Flowers die eventually and so must the Mistress.

Thank you Sydney Theatre Company for "The Maids" and showcasing our Australian exports of the arts to the USA.  We got to witness this fine Australian talent with Isabelle Huppert in New York City!

Yes and it was me who left an apron with an Australian Flag for the cast and crew to sign as a memento of your time in New York City.  Hopefully the cast and crew do sign it and either keep it for  Sydney Theatre Company or give it to the New York City Center Theater.  

Congratulations to the New York City Center Theater for their very specific announcement which also includes "This means no texting during the show."