Reviews

Sweet Charity.

By Neil Simon, Cy Coleman and Dorothy Fields. Queensland Musical Theatre. Schonell Theatre (UQ). 31 Oct – 4 Nov, 2012.

There were many facets of this show to love. Success of Sweet Charity rests on the triple-threat talents of the character in the title. Cait McGregor pulled it off in spades.

Her dance buddies at the Fan-Dango Ballroom (played by Kathleen Simmonds and Danika Saal) brought pizzazz to the big musical numbers, while male leads Tony Campbell (Oscar), Livio Regano (Vittorio) and James Whiting (Daddy Brubeck) made the most of their scenes. All supported Cait McGregor valiantly in the best scenes of the show.

Fully Committed

By Becky Mode. Castle Hill Players. Director: Paul Sztelma; Stage Manager: Carolyn Smalls; Lighting Design: Sean Churchward; Sound Design: Chris Harriott and Bernard Teuben; Set Design: Paul Sztelma; Photography: Chris Lundie. Pavilion Theatre, Castle Hill. October 31 – November 10, 2012.

For the past three years, the foyer of the Pavilion Theatre at Castle Hill has become the venue for short seasons of one or two productions a year for Castle Hill Players. Seating about 70 people on folding chairs arranged around low tables, it’s a cosy space with bar service before and after the show. This is an innovative experiment that should appeal to directors – and actors – who want to try something that doesn’t really need to be ‘main stage’.

My Private Parts

By Deborah Thomson. The Reginald Theatre, Seymour Centre (Sydney). October 31 – November 17, 2012.

A woman so desperate for babies that she embarks on a long voyage through IVF – and then writes a play about her failures  – doesn’t suggest a lot of laughs.  Writer/performer Deborah Thomson and sidekick Lucy Miller, however, present this tale with just the right mix of tender truth, comic hyperbole and quick theatrical inventiveness.  Thomson’s inspiration was to set this very modern marriage of birth and science back in the certainties of the 1950’s, employing a sunny retro design and an ironic use of upbeat songs.

I Wish You a Boat

Created and Directed by Wendy Ward. Featuring: Libby Brockman, Luke Cadden Emma Caldwell, Nathan Falcke, Robert Caetano, Petra Glieson, Taylor Klas, Lara Jean Mrashall, Helena Plazzer and Kliment Poposki. Docklands Cotton Mills, Footscray. Until 17 November, 2012.

This is the time of year when aspiring actors are working on their monologues to get into Drama schools. Huge numbers apply for the main flagship schools and of course there are limited places. Recently I have seen work from two Melbourne Drama Schools and both greatly impressed me.

Great Expectations

By Charles Dickens. Adapted by Nick Ormerod and Declan Donnellan. atyp Under The Wharf season, bAKEHOUSE Theatre Company. atyp Studio 1, The Wharf, Walsh Bay. November 2 – 17, 2012.

Commissioned by The Royal Shakespeare Company in 2005, this adaptation by Nick Ormerod and Declan Donnellan maintains Dickens’ use of the first person and transforms the novel into a piece of true epic theatre.  This sits well in the hands of director John Harrison who is deft at managing large casts and has approached the production with a Brechtian-style vision.

Elling

Adapted by Simon Bent from Nicholas Norris’ translation of a play by Axel Hellstenius in collaboration with Peter Naess. Director: Pamela Rabe MTC. November 1 – December 8, 2012.

When I first saw the film of Elling I saw more than the “ordinary mysteries”of “what is friendship?” “What is it to feel insecure” etc., that director Petter Naess describes. Those are objective questions for sound minds. Elling, super-smart and eloquent, and his only friend Kjell Bjearne, super horny and ape-like, can’t ask or explore sound mind questions; they have psychiatric illnesses, and they are perpetually “In the world but not of it”.

A Classical Celebration

Queensland Ballet. Lyric Theatre, Brisbane, 31 Oct - 2 Nov 2012

Another end-of-year-show piece, which enabled principal dancers and soloists to shine in audience-popular classical excerpts, along with nine graduates of this year’s professional training programme augmenting the corps de ballet. What an opportunity for the initiates!

Brisbane balletomanes love their classics with orchestral accompaniment. This show gave them much to feel proud of.

Before Your Very Eyes

COMPO / Gob Squad. Melbourne Festival. Concept, Design and Direction: Gob Squad (Johanna Freiburg, Sean Patten, Berit Stumpf, Sarah Thom, Bastain Trost, and Simon Will). The Malthouse, Merlyn Theatre. October 24 – 27, 2012.

Before Your Very Eyesrewards with the sheer entertainment of watching beautiful young, energetic, professional actors at work, to say nothing of the interesting perspective it throws onto the art of living, by looking at it through young eyes.  

Becky Shaw

By Gina Gionfriddo. Ensemble Theatre, Sydney. Director: Anna Crawford. 25 October – 1 December, 2012

The chief attraction of this 2008 American drama is playwright Gina Gionfriddo’s bruising, skidding dialogue. Apart from her theatre work, she’s written (and often produced) for such popular television series as Law & Order, Law & Order: Criminal Intent and Cold Case. The fully-loaded, rapid-fire exchanges between her five restlessly unsympathetic characters keeps my head spinning: my opinion of each of the protagonists changes radically throughout the performance.

More Sex Please … We’re Seniors!

By John-Michael Howson. Director: Pip Mushin. The Comedy Theatre, Melbourne from October 31st, 2012

The title is misleading. There’s no sex – and very little mention of it. But don’t be put off. There are lots of fart jokes, some wasted Viagra jokes, an audience participation song about prostate exams to the tune of The Hokey Pokey (Oh the Prod and Pokey) with hand gestures to match, and 17 mentions of Dr Phil  to raise a few  chuckles PLUS an entire parody song about him. (Phil, thrill, pill, will, till, kill:- the rhyming possibilities are endless – unfortunately)

 

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