Reviews

Two Brothers

By Hannie Rayson. Red Phoenix Theatre (SA). Holden Street Theatres. May 18-27, 2017.

In a world where schools in some countries are removing the Arts from the curriculum, Two Brothers by Hannie Rayson epitomises the reason why this is so wrong.

Theatre like this, that educates, builds vital emotional intelligence and helps generate political understanding is paramount, so that we question why things are as they are, how we feel about issues and where our moral compass points are, rather than follow blindly.

King Roger

By Karol Szymanowski and Jaroslaw Iwaszkiewicz. Opera Australia. Director: Kasper Holten. Conductor: Andrea Molino. Choreographer: Cathy Marston. Arts Centre Melbourne. May 17 – 27, 2017.

King Roger is a Polish opera about the 12th Century Sicilian King, Roger II, but in reality is a psychological drama of a man’s inner conflict between Christian restraint and pagan pleasure. This co-production with Covent Garden and Dallas Opera featured an eight metre high head, which revolved in the second act to become Roger’s three-tiered home, or a metaphor for what was happening in his mind.

It was totally engaging and enthusiastically received by the capacity opening night audience.

Sweeney Todd

Music & Lyrics by Stephen Sondheim. Book by Hugh Wheeler. Director: J.J. Geelen. Musical Director: Derek Walter. The South Coast Choral and Arts Society (SA). Victor Harbor Town Hall. 12-28 May, 2017.

With a superb Phantom-style cathedral organ setting the scene (courtesy of keyboardist Jenny Boag), the talented and always-resourceful team at SCCAS have brought us the ghoulish tale of a vengeful barber on a bloody mission – but those expecting a headlong plunge into Grand Guignol may be surprised.

Minnie & Liraz

By Lally Katz. Melbourne Theatre Company. Arts Centre Melbourne, Fairfax Studio. 12 May – 24 June 2017.

At the Autumn Road Retirement Village, Minnie Cohen (Nancye Hayes), bridge player extraordinaire, nearly ninety, is perplexed by the sudden, mysterious death of her bridge partner.  She also worries about her unmarried thirty-eight-year old granddaughter and guilty about the son who never contacts her from the other side of the world – all as she continues her lifelong preparation for widowhood.  Her husband Morris (Rhys McConnochie), deaf and grumpy, has two aims left: to be with Minnie and to outlive her – because what would she do without him? 

The Magnolia Tree

By Michael Griffith. Directed by Sara Grenfell. La Mama Theatre, Carlton VIC. 17-28 May 2017

Unashamedly a provocative ‘play for discussion’ – at the end of which the audience is asked to vote on the characters’ choices - The Magnolia Tree is no dry, academic exercise.  It dramatizes a situation – and a moral dilemma – particularly pertinent and pressing for Baby Boomers and an increasing number of Gen Xers. 

1984

By George Orwell. New adaptation created by Robert Icke and Duncan Macmillan. Ambassador Theatre Group, GWB Entertainment & State Theatre Company South Australia present the Headlong, Nottingham Playhouse & Almeida Theatre production. Touring Australia from May to August 2017.

What is reality? How much of our perceptions and beliefs are created or changed by insidious or even overt external influences? Can ‘alternative’ facts trump actual facts? How easily can the identity of individuals and societies be destroyed by power, propaganda and menacing officialdom?

These questions are contemporary, yet the themes defy time, demonstrated by George Orwell’s 1949 dystopian novel Nineteen Eighty-four, which is equally as well-known as his other famous work, Animal Farm.

Bring It On: The Musical

Libretto by Jeff Whitty. Music by Tom Kitt & Lin-Manuel Miranda. Lyrics by Amanda Green & Lin-Manuel Miranda. Pelican Productions. Norwood Concert Hall. 12 May-21 May, 2017.

How do you fill an upbeat, lightweight, frothy musical entertainment – one that is hampered by pedestrian plotting and an uneven score - with both tension and spectacle, so that it emerges a winner? By making the show about cheerleading, that most intellectually meaningless yet physically undeniable American institution.

42nd Street

Music by Harry Warren. Lyrics by Al Dubin. Book by Michael Stewart and Mark Bramble. Regals Musical Society. Director: Christie Koppe. Musical Director: Peter Sampson. Choreography: Chris Bamford. Rockdale Town Hall. May 12 – 20, 2017

An excellent big brassy and juicy band filled the big barn that is the Rockdale Town Hall and out onto the stage sauntered a large troupe of well drilled tap dancers who exuded enthusiasm and panache.  

The Regals gave 42nd Street a red hot go and the combination of great tunes (“We’re in the Money”, “42nd Street” and “Lullaby of Broadway”), large dance numbers and the odd sprinkle of spectacle made for a very entertaining production.

The Yellow Wave

Adapted by Jane Miller based on the novel by Kenneth Mackay. Directed by Beng Oh. La Mama Courthouse, 349 Drummond Street, Carlton. 10-21 May, 2017.

Kenneth Mackay’s Victorian and colonial perspectives are viewed with contemporary eyes and portrayed as ridiculous and archaic attitudes that by today’s standards would be interpreted as sexism and racism. Stereotypical images of colourful characters such as invading Mongols, evil Russian spies and heroic Australian soldiers abound in this play. The tongue-in-cheek approach of this production is acutely aware of the historical context of the story and makes this a visible presence through the narrator (Andrea McCannon).

The Taming of The Shrew

By William Shakespeare. Nash Theatre, Qld. Directed by Jason Nash. May 13 – June 3, 2017.

This production of The Taming of The Shrew has maintained most of the elements of the original but has moved it more into modern times. Probably this is essential for a modern audience who seldom see a production of a Shakespearean play. Now the action takes place in Padua, where the mafia gangs are strong and warring. The local bar is run by Baptista who keeps the peace but has two daughters -  Bianca, a soft beautiful object of desire for half the mafia and her sister, Katherina, the hard fighting shrew. The question is who marries whom?

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