Reviews

Switzerland

By Joanna Murray-Smith. State Theatre Company of SA. Dunstan Playhouse, Adelaide. October 20 to November 5, 2017.

Do the characters they create continue to haunt the writers who conjure them from their imaginations? This is one of the many questions I found myself asking as I left the Playhouse after Switzerland.Joanna Murray-Smith’s latest play explores this question, as well as introducing us to Patricia Highsmith, author of the Ripleytrio of thrillers.

The Addams Family

Music and Lyrics by Andrew Lippa. Book by Marshall Brickman and Rick Elice. Dural Musical Society. October 13 to 28, 2017

Headstones and eerie, blank-faced, white clad figures line the way as the audience is ushered along Cemetery Lane to Dural Musical Society’s production of The Addams Family. Their small stage is converted to the lonely home of the macabre characters that entertained television audience over 64 episodes between September 1964 and April 1966.

A View from the Bridge

By Arthur Miller. Red Line Productions. Old Fitz Theatre. Oct 19 – Nov 25, 2017.

The Old Fitz is so small it’s hard to imagine it as theatre in the round.  But stripped of all props except a chair, and with the actors when offstage sharing front row seats with the audience, it’s amazing what little you need to make great theatre.

A View from the Bridge, in this fine stripped back production by Iain Sinclair, is a view up close, more a psychological study.  Luckily the acting totally rewards the focus.

Outside In

By Hilary Beaton. Directed by Faran Martin. WIT (Women in Theatre). Bluestone Church Art Space, Footscray. 20 October – 4 November 2017

‘Move over Wentworth,’ says the publicity blurb for this production of Hilary Beaton’s play (published 1984) about seven women locked up in a gaol.  In fact, television series Wentworth is a ‘re-imagining’ of the Australian television series Prisoner, which debuted in 1979 and ran for 692 episodes till 1986.  Ms Beaton’s characters are not a copy of the television show, but given similar themes – shifting power relations, strategic alliances, injustice, dominance and dependence, frustration and boredom, the need for sex,

Pygmalion

By George Bernard Shaw. Wanneroo Repertory. Directed by Jacob Turner. Limelight Theatre, Wanneroo, WA. Oct !2 - 21, 2017.

Wanneroo Repertory’s Pygmalion was a sumptuously presented production that was very warmly received by capacity audiences.

Jacob Turner made a promising directorial debut with this classic George Bernard Shaw play, with a production that looked great, with lovely multiple sets designed by Robert Usaraga, well designed lighting by Jacob Anderson, solid sound work from Daniel Toomath and Kim Elford and some notable costuming.

Impersonal Space

By Emily Steel. Tutti Arts / Company AT. Queen’s Theatre (SA). 19-28 October, 2017

Impersonal Space is a completely new work by South Australian playwright Emily Steel and is produced by Tutti Arts and Company AT (Autistic Theatre).

It is a triumph on numerous levels. Firstly, it exemplifies the powerful healing possibilities that are inherent in the theatre, for all participants, audience and actors. In this case all the actors are those with a particular autism – and they are all marvelous.

The Red Tree

By Hilary Bell, based on the book by Shaun Tan. Music by Greta Gertler-Gold. National Theatre of Parramatta. Lennox Theatre, Riverside Theatres. October 19 – 28, 2017.

The National Theatre of Parramatta brings another new piece of homegrown theatre to the Riverside – and Australian – stage. Based on the book by artist Shaun Tan, The Red Tree has an appeal that is insightful and universal.

Chess

Lyrics by Tim Rice. Music by Benny Andersson and Bjorn Ulvaeus. Old Scotch Music and Drama Club. Director: Alan Burrows. Choreographer: Di Crough. Musical Director: Martine Wengrow. October 19 – 28, 2017

Chess the musical is not unlike the game it depicts - deceptively and demandingly complex. The music is difficult, the movement requires focused and adroit choreography and its performers need both the acting and vocal chops to do its tension fuelled scenes and songs justice. A lot can go wrong in this production,and it can be hard to find the people needed to get it right. OSMaD found them, and have presented what is a powerful and consistently interesting production of a very challenging piece.

Chicago

Music by John Kander. Lyrics by Fred Ebb. Book by Fred Ebb and Bob Fosse. Gosford Musical Society. Directed by Toni Williams. Musical Direction: Chris Hochkins. Choreography: Karen Snook. Costumes: Jamie McKenzie. Set Design: Simon Castle. Laycock Street Theatre. October 20-November 11, 2017

It's impossible to start this review off in any kind of 'neutral' perspective, given that, the first community theatre production of any kind this reviewer had ever seen, was opening night of GMS' Chicago in 2002. Aspects of the experience that struck me most were the over-flowingly loving vibe emanating from the audience; how high the production values were in regard to costumes, lighting and set design; and the marvellous diversity of the cast – in appearance and professional abilities.

A Festival of Russian Ballet

The Imperial Russian Ballet. Concert Hall, QPAC. 19-20 October 2017

Australian audiences have had a love affair with Russian dance companies ever since Michael Edgley and Andrew Guild began touring them to Australia in the 1960’s. It’s this love of Russian dance that permeates the whole performance of the Festival of Imperial Russian Ballet, a pop-pourri of popular pieces from the classical repertoire.

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