Reviews

The Truth

By Terry Pratchett, adapted for the stage by Stephen Briggs. Unseen Theatre Company. The Bakehouse Theatre. October 27-November 11, 2017

The Truth is the 25th novel in the Discworld series by esteemed English author Terry Pratchett, and adapted for the stage by Stephen Briggs. Director Pamela Munt has assembled a large cast to bring its absurd mix of characters to life in Unseen Theatre Company’s production.

Peter Pan

Choreographer: Trey McIntyre. Based on J.M.Barrie’s play (1904). Composers: Edward Elgar & Neil DePonte. Queensland Ballet / Queensland Symphony Orchestra. Conductor: Nigel Gaynor. Playhouse, QPAC. 25 Oct – 5 Nov 2017.

Audiences never seem to tire of going to ‘Neverland’and Queensland Ballet’s restaging of Trey McIntyre’s version of Peter Pan still enchants. Since the production last flew into Brisbane two years ago McIntyre has edited and tightened his vision, and although story-wise it’s a bit muddy in the second act, the work is still a spirited telling of J.M. Barrie’s beloved Edwardian tale of the boy who never grew up.

Puberty Blues

Adapted by Zoe Muller; based on the novel by Kathy Lette & Gabrielle Carey. Directed by Zoe Muller & Jean Collins. Deadset Theatre Company; supported by Verandus Theatrical. Holden Street Theatres, Hindmarsh. 25-28 October, 2017.

For anyone who makes it to adulthood, the process of ‘growing up’ is a universal one, even if that of ‘learning to surf’ is not.

The young women behind this new stage adaptation of an iconic Australian story have been shrewd in concentrating their focus on situations from the text that can be most easily (and effectively) dramatized on a stage. Rather than the generally confrontational tactics of the recent television series, this script gets its points across with discretion and tact.

The Merchant of Venice

By William Shakespeare. Bell Shakespeare. Playhouse, Sydney Opera House. October 24 – November 26, 2017

This is clear and agile storytelling from director Anne-Louise Sarks and Bell Shakespeare, even if this Merchant of Venice is oddly branded as a comedy. 

It’s hard of course to know what it is, with the Jewish caricature and cruel fate of Shylock mixed up with a romantic romp, fairy tale games and courtroom drama.

Tchekov at the House of Special Purpose

By R Johns (with reference to Tchekov’s Three Sisters). Directed by Alex Menglet. La Mama Courthouse, Carlton, VIC. 25 October – 5 November 2017

Rosemary Johns’ play about the final days of the Romanovs is no docu-drama.  As in the historical accounts, all the named characters are real people, and the Romanov family is confined to a single room in ‘the house of special purpose’, the Inpatiev House, the windows covered in newspaper.  As in history, the family is exposed to constant surveillance, inspections and insults from the Bolshevik guards. 

Salomé

Written and directed by Yaël Farber. National Theatre Live. Cinema Nova, 380 Lygon Street Carlton, and cinemas nationally from 4 November 2017. 

This play radically reinterprets the biblical story of Salomé which has normally been treated as a tale of a woman’s perverse sexuality and vindictive nature. Farber’s vision of Salomé (Isabella Nefar) is more flattering and carves out a space for her as an important political figure. 

Brigadoon

Music: Frederick Loewe. Book & Lyrics: Alan Jay Lerner. The Production Company. Director: Jason Langley. Musical Director: Michael Tyack. Choreographer: Cameron Mitchell. Venue: State Theatre, Arts Centre Melbourne. October 28 – November 5, 2017

Having performed in a couple of productions, I was looking forward to The Production Company’s take on this old war-horse. It was very well done.

It started with leading lady Fiona running onto stage from the back of the auditorium, and singing, with the chorus, the opening number, which is usually just sung by the chorus. This made the words much easier to follow, which helped set the scene.

From Broadway To Ballroom

By Liza Beamish, Lachlan Baker, Emma and Rhett Salmon. HIT Productions and Liza Beamish.. Queanbeyan Performing Arts Centre. October 26 to 28, 2017 and touring.

“Our next piece is a medley of Andrew Lloyd Webber hits. It’s quite long, so if you’re not into Andrew Lloyd Webber, you might want to leave now,” quipped tenor Lachlan Baker. Immediately my daughter tugged my arm to go. She was joking, but I understood her problem.

Bambert’s Book of Lost Stories

Adapter: Dan Giovannoni, Adapter & Director: Luke Kerridge, Production Designer: Jonathon Oxlade, Lighting Designer: Chris Donnelly, Composer/Sound Designer: Ian Moorhead, Dramaturg: Matt Edgerton, Cast: - Igor Sas, Amanda McGregor, Jo Morris, Nick Maclaine and Tim Watts. Arts Centre Melbourne, 27 & 28 October 2017

Barking Gecko Theatre Company’s presentation of Bambert’s Book of Lost Stories is magical, and so fittingly adapted for the stage by Dan Giovannoni and Luke Kerridge.  The production brings to life the exquisite illustrations of Reinhardt Jung’s book, the characters in the story are validated and the audience can step into a world of fantasy, into a time when storytelling and imagination were fundamental above everything else.

The Wharf Revue - The Patriotic Rag

Written and Created by Jonathan Biggins, Drew Forsythe and Phillip Scott. Sydney Theatre Company. Wharf 1 Theatre. October 24 to December 30, 2017.

Satirists have to move with the times and so when the sparkling Blazey Best came on stage as the beautifully quaffed Michaelia Cash, she apologised for being late due to a staff farewell function – referencing the resignation, the night before, of the minister’s press secretary. 

Jonathan Biggins too settled in for large helpings of improvisation as Donald Trump. He wound up the audience when they didn’t get a gag. My first wife was a blank cheque….err that was blank Czech.

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