Reviews

Point and Shoot

Holland Street Productions. La Boite Studio, Kelvin Grove; 17-20 September 2014

Brisbane Festival and the QUT Creative Industries have set up Theatre Republic, a selection of venues with a surreal 'a-tyr-ed' outdoor bar (with real tyres), to showcase a multitude of cutting edge displays of theatre, cabaret, live-art, comedy and even a musical, Point and Shoot.

Reception the Musical

Performer: Bethany Simons. Accompanist: Peter de Jager. Choreographer: Joseph Simons. The Butterfly Club, Melbourne. 17 – 22 September, 2014

Reception the Musical sounded like it could be fun, and it was! Based on Bethany’s own experience as a receptionist, this was obviously a job she enjoyed and this came across.

It was quite a tour de force to sustain the character for a full hour and Bethany managed that with ease and never wore out her welcome. Sometime she would take on the persona of the person she was speaking to, either directly or on the phone, and she displayed a superb talent for mimicry.

Baroness Bianka's Bloodsongs

Written and performed by Joanna Weinberg. Hayes Theatre Co. Sundays September 14 – 28, 2014.

Joanna Weinberg writes such clever songs that it leaves you wanting to press rewind and re-listen to the lyrics to drink them in. Her latest musical is a wicked one woman cabaret about a spooky character with a fetish for blood.

Baroness Bianka sniffs the audience members, lustily trying to guess what their blood types are.

Just as a passionate wine expert (red of course ) could swish around the drink and name the brand, she too has an encyclopaedic knowledge of the make-up of man-made claret.

You’ve Got That Thing

Written by Izaak Lim & Nick Maclaine. Bell Productions. Director/Producer: Analisa Bell. Musical Director: Mia Brine. The Butterfly Club (Vic). 16-21 September 2014

This tender exploration of Cole Porter’s work weaves a gentle, nuanced picture of some of his relationships. He was always just off stage and was made present through his impact on his wife, Linda (Brianna Williams), his lover, Edward (Mitch Roberts) and his star, Ethel Merman (Analisa Bell).They was supported by a pianist, Mia Brine.

Jennifer Forever

By Tara Clark. Sydney Fringe. Director: Tara Clark.Lighting Designer: Liam O’Keefe. Stage Manager: Cara Woods. Old 505 Theatre Surry Hills. 17 - 28 September 2014

Sexual perversity is alive and well in Sydney

Form Dance Projects: Double Bill

Lennox Theatres, Riverside Theatres, Parramatta. September 11 – 13, 2014

In this program two creative teams exemplify how contemporary dance reaches beyond story telling to social comment, and how the arts are being combined and juxtaposed in unusual and imaginative ways.

Miranda Wheen and Matt Cornell presentSafe Hands andBetween Two and Zero on a black-floored empty stage.

Kryptonite

By Sue Smith. Sydney Theatre Company and State Theatre Company of South Australia. Wharf 1 Theatre, Sydney. Director: Geordie Brookman. 11 September – 18 October 2014.

We all know — don’t we? — that Superman emigrated from the planet Krypton and that the only substance that can render him helpless is a chunk of kryptonite. Sue Smith certainly hopes we know this superheroic fact, for otherwise the title of her terrific new two-hander will be meaningless.

The metaphorical kryptonite examined here is the essential Chineseness that Smith’s heroine Lian retains after years of being legally Australian. And her boardshorts-wearing hero Dylan is always and incontrovertibly from Planet Oz.

Laughter on the 23rd Floor

By Neil Simon. Directed by Kate Cherry. Heath Ledger Theatre, State Theatre Centre of WA, Perth. 6-21 Sep 2014

Laughter on the 23rd Flooris excellent quality theatre, beautifully produced and great fun to watch.

First impressions come from Lauren Ross' consciously unconsciously glamorous New York office set - which is simply beautiful, perfectly constructed and establishes a distinct style. The designer's costumes are also wonderful - beautifully selected and an excellent depiction of characters and the era.

Amadeus

By Peter Shaffer. Directed by Bruce Akers. Heidelberg Theatre Company. 11th-27th September, 2014.

It could be said that Peter Shaffer is one of the 20th Century’s greatest playwrights and Amadeus is already a “classic” play. Certainly the role of Salieri is one of the showiest and most compelling roles since Shakespeare’s time, and it’s also one of the most gruelling.

The King and I

By Richard Rodgers and Oscar Hammerstein II. Opera Australia / John Frost. Joan Sutherland Theatre, Sydney Opera House. September 7 – November 1, 2014

There must have been a mix up at the box office because of instead of sitting in the clouds somehow we ended up in what felt like the Governor’s seats – dead centre five rows from the front. Malcolm Turnbull, in the seat behind, gave me a tip on how to conduct a regal wave.

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