Reviews

I expect I was one of the few in the audience to remember the last performance of Der Freischȕtz in Melbourne in 1969. I remember it being very traditional. This was anything but.

The sets and costumes were generally in shades of grey, with colour being used to signify the magical events, particularly in the Wolf Glen scene. Much of the set was abstract with jagged shapes, and sometime shadows of people would appear. It was eerie and quite magical. The lighting and computer generated images enhanced this.

It’s hard to know where to place the blame for this deeply superficial, mildly amusing, production of a West End hit by April de Angelis. Certainly there are problems with the text, which not only doesn’t answer the audience’s questions, but seems unaware of them. Instead, awkwardly imposed shtick takes the place of subtext (one Burlesque dance is hilarious, two is excessive, and three is…well…desperate).

The Process coherently shines a bright light on the outrageously inhumane way we, as a nation, are dealing with Asylum Seekers.  Perhaps it states the obvious and preaches to the converted but it is particularly accessible and has the power to galvanize.  At the very least it should prompt audiences to join Liberty Victoria who deserve much gratitude for sponsoring the play.

The off-Broadway play The Credeaux Canvas has proved popular for small theatre producers in Sydney, having been staged just two years ago. The producer here, Les Solomon, mounted the Australian premiere 14 years ago and liked it so much he decided to bring it back (with co-producer Bryce Hallett).

Like Kenneth Lonergan’s This is Our Youth, this play is set in a Manhattan apartment and primarily concerns three young people, struggling to find their place in the world. They’re close, but willing to betray each other with little hesitation.