Reviews

It Could Be Any One of Us

By Alan Ayckbourn. The Therry Dramatic Society. Arts Theatre, Adelaide. November 2nd-11th, 2017

Therry’s latest production It Could Be Any of Us is all about the details. Experienced director Kerrin White has looked beyond the text to draw out every satirical moment and bring us a fast-paced look at this family of failures.

The action takes place in the old English country home of the Chalke family; the rundown residence is home to a composer, a writer, a painter, a detective and a wayward teenager. Set design by White is so authentic you can almost smell the mildew caused by the leaking roof, while Mary Formosa has also done a fine job in dressing the set.

The Jungle Book

Adapted by Monica Flory, based on the stories of Rudyard Kipling. Playlovers (WA). Directed by Sarah Christiner. Camelot Theatre, Mosman Park, WA. October 20 - November 4, 2017

Playlovers presents this ensemble production, with a cast of kids, teens and young adults in the borrowed 'Camelot Theatre’, to satisfied audiences.

A darkish interpretation of Rudyard Kipling’s classic story, the set included a multi-level tree to house a family of Kites, a convincing and practical wolf den, and some top-notch projected backdrops, designed by director Sarah Christiner. One section included some excellent original animation by the director and Blake Jenkins. 

Atlantis

By Lally Katz. Belvoir Theatre, Sydney. Directed by Rosemary Myers. 28 October - 26 November 2017

We all meet a lot of characters in life. If you’re a writer, why not create a play about them?

Atlantis is a new work by American-born, Australian-based Lally Katz. It is semi-autobiographical, inspired by people she’s met in life. “Hi everyone, I’m Lally Katz,” says an actor (the brilliant Amber McMahon) as she steps outside the first scene of the play. She tells us “almost everything” here is true and every character based on a real person.

What Rhymes with Cars and Girls

By Aidan Fennessy. Melbourne Theatre Company. Directed by Clare Watson. Powerhouse Theatre, Brisbane Powerhouse, New Farm. October 25 - November 4, 2017.

Tucked under an old brown couch, the board game seems innocuous.

It’s never touched during the show but it is played, for two lovestruck misfits are building their own Mousetrap one piece at a time.

Triggers have been set. The cage will fall. Whether the pair can live within the confines of the expectations of others remains to be seen. Time and a very forgiving support band are the only things working in their favour.

A New Brain

Normanhurst Uniting Church Musical Society. Review Saturday 28th October 2017. Director Tamer Morris, Musical Director Matthew Herne, Choreographer Rebecca Savage. Oct 21 – Nov 5, 2017

A New Brain, the musical based on the semi biographical account of William Finn’s own near death experience, was an interesting and insightful evening at the theatre. The relatively unknown and rarely performed show was new and fresh to see, With this community group’s gamble having paid off.

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. 

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