Saturday, April 12, 2025

Henry 5 - Bell Shakespeare

 

Henry 5  Bell Shakespeare, Canberra Theatre Centre, Playhouse, April 11 - 20, 2025.

Reviewed by Frank McKone
April 11

Cast

King Henry: JK Kazzi; Dauphin: Jack Halabi
Westmoreland: Alex Kirwan; Alice/Messenger:Odile Le Clezio
Katherine/Boy: Ava Madon; Michael Williams/Scroop: Harrison Mills
Exeter: Ella Prince; King of France/Canterbury/French Soldier: Jo Turner
Montjoy: Mararo Wangai;
Grey/English Soldier/Understudy: Rishab Kern
Grey/English Soldier/Understudy: Ziggy Resnick

Creatives

Director: Marion Potts
Set & Costume Designer: Anna Tregloan
Composer & Sound Designer: Jenthro Woodward
Movement, Intimacy & Fight Director: Nigel Poulton
Voice Director: Jack Starkey-Gill
Stage Manager: Sean Proude

The action begins in preparation for the Battle of Agincourt

In a highly original approach to Shakespeare’s asking for our indulgence for two hours, Marion Potts has made Henry V – the third in the Henry IV and V set – fit neatly into 1 hour 50 minutes with no interval:

Act 1, Prologue: PROLOGUE
Act 1, Scene 1: London. An ante-chamber in the KING'S palace.
Act 1, Scene 2: The same. The Presence chamber.

Act 2, Prologue: PROLOGUE
Act 2, Scene 1: London. A street.
Act 2, Scene 2: Southampton. A council-chamber.
Act 2, Scene 3: London. Before a tavern.
Act 2, Scene 4: France. The KING'S palace.

Act 3, Prologue: PROLOGUE
Act 3, Scene 1: France. Before Harfleur.
Act 3, Scene 2: The same.
Act 3, Scene 3: The same. Before the gates.
Act 3, Scene 4: The FRENCH KING's palace.
Act 3, Scene 5: The same.
Act 3, Scene 6: The English camp in Picardy.
Act 3, Scene 7: The French camp, near Agincourt:

Act 4, Prologue: PROLOGUE
Act 4, Scene 1: The English camp at Agincourt.
Act 4, Scene 2: The French camp.
Act 4, Scene 3: The English camp.
Act 4, Scene 4: The field of battle.
Act 4, Scene 5: Another part of the field.
Act 4, Scene 6: Another part of the field.
Act 4, Scene 7: Another part of the field.
Act 4, Scene 8: Before KING HENRY'S pavilion.

Act 5, Prologue: PROLOGUE
Act 5, Scene 1: France. The English camp.
Act 5, Scene 2: France. A royal palace.

And it works a treat, because it concentrates the play into realising our understanding of the real autocrat behind the playboy Prince Hal.  He doesn’t become this just because he becomes King Harry.  He just is a coercive control freak, which director Marion Potts makes clear in the final scene of enforced acceptance by the French Princess Katherine that he “loves” her.

Katharine has no real choice

 The great thing about this production, in addition to Nigel Poulton’s marvellous impact as Movement, Intimacy & Fight Director, is the clarity of the voices – in French as well as English – achieved by Jack Starkey-Gill’s directing.  Instead of speaking in standard Shakespearian stage English like in the Olivier film of the 1940s, everyone from the King down makes absolutely sure that whoever they are talking to – including us – understand exactly what they mean.

If you thought this theatrically choreographed version, in modern dress, is just a “modern” interpretation to make Shakespeare “new”, you’ll find yourself surprised, especially through the character of Prologue, how modern Shakespeare was in his time – for he clearly shows how manipulative and self-serving dictators are; in this case in the Plantaganet/Tudor family of his very Queen.

How prescient he was, when we look around the world today, when we see men in power pushing on to win Battles of Agincourt in real wars as well as trade wars in our nightly news.

Bell Shakespeare has made Henry 5 out of Henry V, an exciting and important contribution to our thinking about politics – democratic and autocratic; about the anti-humane character of warfare; and about the destruction of personal worth and integrity, at the individual level – especially, but not only, for women.

This a Bell Shakespeare production which should tour world-wide.

King Harry incognito, pretending to be a common man,
while gathering intelligence.

 

 

 

 

HENRY V

 




Henry V by William Shakespeare.

Directed by Marion Potts.Set and costume designer Anna Tregloan. Lighting designer Verity Hampson. Composer and sound designer Jethro Woodward. Movement, intimacy and fight director Nigel Poulton. Voice director Jack Starkey-Gill. Bell Shakespeare. The Playhouse. Canberra Theatre Centre. April 10-20. Bookings; 6275 2700 or canberratheatrecentre.com.au

Reviewed by Peter Wilkins

 

JK Kazzi as Henry V

Bell Shakespeare has brought a right royal production of Shakespeare’s most patriotic history play to Canberra. Henry V is a sequel to Henry lV and a prequel to Henry Vl, . The trilogy traces the rise and fall of the Plantagenet royal line.  On the death of Henry lV, the king’s son assumes the throne after a wild and dissolute youth. Through his surprising transformation Prince Hal becomes the warrior king and through conquest and marriage unites the nations of France and England.   Shakespeare in deference to his patroness Queen Elizabeth describes the war and eventual peace  after the heroic battle of Agincourt in 1415.

Henry V Company
There is a fierce muscularity to director Marion Potts’ production. It is the muscularity of youth. It is the muscularity of action underscored by Jethro Woodward’s  dramatic composition and sound design. The moveable steel platforms, hanging chains and suspended boxing bag of Anna Tregloan’s design lend the production an atmosphere of high tensile vigour and fluidity. Bell Shakespeare’s Henry V is a production for our time, resounding with the inevitability of human conflict  that since the play’s time has seen its wars played out through the centuries. It is impossible to watch Potts’ dynamic and revelatory production without the perspective of our time. Is Vlodomy Zelensky a contemporary Henry V? Is he the comedian turned President and transformed to a war hero? A long bow perhaps? And what of the interpretation of the Salic Law that justified Henry’s attack on France. What of Putin’s justification of his illegal invasion of Ukraine? Shakespeare’s mirror is clearly held up to human nature, to ambition, to treachery, to man’s inevitable propensity to wage war. One man’s war hero is another man’s war criminal. Echoes of Gaza are close by.

Henry V - Preparing for war
Potts’ directorial brilliance is evident in every moment of this compelling drama. The play is cleverly edited to create economy of action and clarity of plot and dialogue. The chorus to the swelling scene is assumed by different characters at different times. Sub plots are either pared back or discarded so that the audience is entirely engaged in Henry’s campaigns and eventual victory. The play is after all propaganda and it is no coincidence that Laurence Olivier created the film version during World War ll  to drive the English once more unto the breach. Played mostly in contemporary street clothes and using microphones and lap tops, Potts and her cast and creatives have fashioned a Henry V that is immediately recognizable. Nigel Pulton’s combat movement accompanied by Woodward’s  percussive force and haunting sound design and using Ann Tregloan’s steel setting propel the action with forceful stylization. This is a Henry V that imbues Shakespeare’s word and action with startling contemporary relevance.

Henry V - At war
In the title tole of Henry V JK Kazzi gives an extraordinary performance. The wild recklessness of the larrikin prince can still be seen in his mercurial energy and drive, but it is now tempered by the burden of responsibility and a dedication to duty. Kazzi’s Henry dazzles with  charisma .His command of the role whether urging his soldiers on on the battlefield or awkwardly wooing the French King’s daughter Katherine (played with delicious naivety by Ava Madon)not only stamps Kazzi as an exciting up and coming star on the Australian stage but a definitive performer of Shakespeare’s golden monarch.

Jack Halabi (Dauphin), Ella Prince (Exeter) in HenryV
Pivotal to the dynamism of the production is Potts’ superb casting.  Apart from Kazzi, the names of her ensemble of actors reflect multicultural origins, and possibly a reminder of the far reaching scourge of war. Jack Halabi plays the arrogant Dauphin. Alex Kirwan  is the loyal Westmoreland. Odile Le Clesieu plays Katherine’s maid Alice. Harrison Mills plays the traitor Scroop. Henry’s dutiful ally Exeter is played by Ella Prince. Jo Turner is the King of France. Mararo Wangai plays the French herald Montjoy. Understudies are Rishab Kern and Ziggy Resnick  To firmly entrench the play’s  characters in reality,members of the French court speak French while English surtitles appear above.

Jo Turner (King of France), Katherine (Ava Madon) JK Kazzi  
Bell Shakespeare’s Henry V faithfully paints the portrait of the play’s events and time. But Potts and her company skilfully and with startling imagination reveal the universal character of war. It is a sober reminder of human nature’s fatal flaw and the heroism that can rise from the horrors of war.   Bell Shakespeare’s Henry V offers a rare opportunity for audiences to see the past reflected and recognized  in the mirror of our time. This theatrical triumph is not to be missed.

 

 

 

 

 

HENRY 5

 


Written by William Shakespeare

Directed by Marion Potts

Bell Shakespeare

The Playhouse, Canberra Theatre Centre to 20 April

 

Reviewed by Len Power 11 April 2025

 

Henry 5 may be Shakespeare’s well-known play with the rousing call to battle, ”Once more unto the breach, dear friends, once more”, but the grim reality of war is unflinchingly depicted in this production with its messy brutality and death. In its contemporary setting with laptops, microphones and surtitles digitally identifying characters by name and serial number, the dehumanization of war is clear. The use of today’s communication equipment is a reminder that current world conflicts and their biased reporting are probably shaping our own attitudes. Our minds become the weapons of the future.

The drama before and after Henry 5’s victorious Battle of Agincourt in 1415 plays out on a bare stage in which darkness looms over the characters. Everything is geared for war – the metallic uniformity of the set pieces and the costuming that hints at uniforms. There’s even a punching bag hanging aggressively on the set that becomes a symbol of dead soldiers being dragged over the battlefield.

Marion Potts’ production strips the play down to its essential story. Many characters and subplots are omitted as the narrative drives forward compellingly in one act. The battles are cleverly choreographed with movement (Nigel Poulton), lighting (Verity Hampson) and sound (Jethro Woodward) and the atmospheric set design (Anna Tregloan) includes the inspired use of real and very messy mud to depict the bloodiness of battle.

JK Kazzi is a fine, physical King Henry. There are echoes of his dissolute youth in his characterization but there is a steely resolve that drives him towards battle. His famous speeches “Once more unto the breach” and “We few, we happy few, we band of brothers” are delivered with a notable intensity and sensitivity.  There are fine, colourful and truthful performances from all members of this ensemble cast.

This is a memorable production from Bell Shakespeare. It’s atmospheric and disturbing and its message for today’s world is worryingly relevant.

 

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

 

 

Friday, April 11, 2025

THE MIRROR - Gravity & Other Myths. Canberra Theatre.


 

THE MIRROR – Gravity & Other Myths – Canberra Theatre

Directed by Darcy Grant – Associate Director: Jascha Boyce

Set and Lighting designed by Matt Adey – Associate Designer: Lachlan Binns

Composer: Ekrem Eli Phoneix – Sound Design by Mik La Vague

Costumes designed by Renate Henschke

Performed by: Martin Schreiber, Simon McLure, Lisa Goldsworthy, Lewis Rankin, Dylan Philips, Emily Gare, Jascha Boyce, Lachlan Binns, Maya Tregonning, Ekrem Eli Phoenix.

Canberra Theatre 10 – 12 April 2025 – Reviewed by BILL STEPHENS.


The cast of "The Mirror"


Multi-award-winning Adelaide based physical theatre company, Gravity and Other Myths, has been touring the world, winning plaudits for the ingenuity, skill, and sheer virtuosity of its productions.

These Canberra performances are the last in its Australian tour before it begins to hectically criss-cross the globe exciting audiences with various of its productions in Korea, United Arab Emirates, USA, Canada, Germany, and the UK.

In Canberra it is presenting “The Mirror” a physically and conceptually ambitious program addressing concepts of entertainment through the language of contemporary circus. 

Ekrem Eli Phoenix and the cast of "The Mirror"

The productions is c
entred around the talents of charismatic composer/singer/circus performer, Ekrem Eli Phoenix who enigmatically wanders through the proceedings engrossed in his own image and singing tantalising deconstructions of well-known songs. Among them are Gershwin’s Summertime and Queen’s Bohemian Rhapsody, to which the other nine performers in the troupe constantly dazzle with feats of extraordinary physicality and strength.

The 80-minute performance is divided into sections and presented without an interval or interruption, during which the company explores physical movement that is likely to entertain contemporary audiences.

The first harkens back to the old-fashioned tableau, during which the performers use an arrangement of black drapes to intrigue the audience by revealing a succession of images of bodies arranged in remarkably unlikely situations.

The introduction of a LED wall, a large decorative neon construction to border the action, cameras and selfie sticks constantly dazzle and confuse the eye, as bodies are piled upon and around each other to construct surrealistic images.

 

The cast of "The Mirror" in action.

Gender-blind acrobatics have the women bearing as much weight as the men for manoeuvres in which performers scramble over their colleagues to create human towers often four bodies high. Elsewhere colleagues are tossed around with such reckless abandon that, even though meticulously choreographed, the mesmerised audience is left gasping as to how injury could possibly have been avoided.  

Costume designer Renate Henschke has eschewed the glitz and glamour of familiar circus presentations in favour of minimalist, apparently haphazard garments, with performers dressed individually, mostly in underwear, often transparent, often revealing, but ideal for displaying the magnificent, widely varying physiques of each performer, who unselfconsciously change elements of their costumes in full view of the audience.

With “The Mirror”, Director Darcy Grant and his associate Jascha Boyce have created an entertaining and gripping evening of world-class acrobatics, presented with flair and imagination and performed with irresistible joie de vivre and skill, that offers a series of surprising and intriguing ways with which to utilise the human body as a medium of entertainment.


                                    Except where otherwise marked all images by Andy Phillipson.


  This review also published in AUSTRALIAN ARTS REVIEW.      www.artsreview.com.au  

Thursday, April 10, 2025

ANTIGONE


 

Antigone by Sophocles.

Directed and designed by Cate Clelland. Produced by Michael J Smith. Graphic designer/Photographer Carl Davies. Costume designer Tania Johnson and Cate Clelland. Movement director Lachlan Ruffy Greek Theatre Now3. The Burbidge Amphitheatre. Australian National Botanic Gardens. April 10,11 18-21 2025. Bookings:www.greektheatrenow.com.au

Cast: Ella Buckley, Sienna Curnow, Ian Russell Chorus: Kate Eisenberg, Neil Macleod, Jessica Beange, Samuel THomson, Selene Thomson, Sarah Hull, Justice-Noah Malfitano, Crystal Mahon, Alastair McKenzie, Sienna Curnow, Michael J Smith

Reviewed by Peter Wilkins

Ella Buckley is Antigone
 

 A new theatre company has appeared on the Canberra stage. The brainchild of producer Michael J Smith and director Cate Clelland, Greek Theatre Now makes an impressive debut at  the Burbidge Amphitheatre in the heart of the Australian National Botanic Gardens. Signs point the way from the Visitors Centre through the leafy rainforest to the small stone amphitheatre. It is the ideal setting for Sophocles’ immortal tragedy, Antigone. It is quickly apparent that what Clelland and Smith have created is a wonderfully clear telling of a story that captivated Greek audiences 2,500 years ago at the theatre of Dionysus in Athens.  

The Chorus and King Creon (Ian Russell)
From the moment that Chorus Leader ll (Kate Eisenberg) addresses the audience with the background story to the play the drama unfolds with captivating clarity. The group of students in the audience from St Francis Xavier College are instantly transfixed by Eisenberg’s prologue and then totally absorbed by the consequences of Antigone’s defiance of authority. Antigone’s brothers Eteocles and Polynices , sons of Oedipus engage in mortal combat. Both die by each other’s hand. Eteocles’ valiant defence of Thebes grants him full funeral honours while Polynices’ treachery in returning from exile condemns his body to the air and defilement.  In defiance of the command by her uncle King Creon (Ian Russell) Antigone (Ella Buckley) resolves to give her disgraced brother proper burial before the Gods. What ensues is the conflict between the will of the individual and the authority of the state.

Haemon (Alastair McKenzie), Creon (Ian Russell)

 

Greek Theatre Now’s recreation of Sophocles’ Antigone in the open air amphitheatre and unaided by modern technology possesses a compelling authenticity. There is a declamatory conviction in the performance, supported by the commentary by the Chorus who describe the events, judge the actions, advise the characters and reflect society’s attitude. Director Clelland and movement director Lachlan Ruffy combine movement, dance, choral voice and chant in a finely orchestrated choreography of voice and movement.

In keeping with tradition, some performers would step out of the chorus to take on the roles of  major characters in the drama.  Chorus leaders (Neil McLeod, and Kate Eisenberg). Creon and Antigone maintain their roles throughout. Clelland’s direction is precise, insightful and constantly honouring the story. A flock of cockatoos appear to screech on cue as omens to the drama, but Clelland and her cast allow no distraction.

Clelland’s incisive direction cleverly draws forth the vulnerability of her characters and the human condition. Sophocles’ observance of the human condition underpins each performance. Russell’s Creon is driven by a fear of defiance and the stubborn resistance to reason. It is a performance more human in vulnerability than archetypal in hubris. Buckley’s Antigone is not the woman of steel but a loving sister determined to do what is right by her brother and against the wishes of the law. Buckley gives a very human and moving impression of a young woman , trapped and yet resolved to do what is right in her eyes and the eyes of the gods. Sienna Curnow as Antigones’ sister Ismene is the perfect foil, fearful of consequence and yet bound by the laws of the state. 

Tieresius (Michael J Smith)
There are strong performances by minor characters. Justice-Noah Malfitano’s fawning fool of a guard lends a clownish aspect to the character of the Guard. Michael J Smith’s blind prophet Teiresius gives credence in his dramatic evocation to the saying “There’s none so blind as those who do not see” Creon’s son Haemon is played by Alastair McKenzie with the universal  reality of the contemporary youth. It is in the performance of all the characters that we observe the universality of the human condition in all its aspects. Crystal Mahon as the Messenger and Sarah Hull as Creon’s wife Eurydice also give credible performances. This thoughtful and faithful production of Sophocles’ Antigone is an excellent example of ensemble playing. It is appropriately declamatory and moralistic in its discourse on the condition of Man and plea for reason and happiness through wisdom.

 Greek Theatre Now’s  inaugural production is a welcome innovation in Canberra’s vibrant theatrical landscape. Its amateur status gives it a raw honesty and professional truth that echoes through the ages. If you want to experience what it may have been like for the Greek audiences to witness Sophocles’ Antigone in 441 BC at the Theatre of Dionysus then Greek Theatre Now’s production for contemporary audiences is a must see experience.

Tuesday, April 8, 2025

OPERA'S BAD GIRL - Presented by CantaViva - Canberra Rep Theatre

 

Sarahlouise Owens as Anna Bishop in "Opera's Bad Girl"

Conceived, written & performed by Sarahlouise Owens.

Associate Artist: Lucas Allerton

Directed by Tony Turner & Cate Clelland – Set designed by Cate Clelland

Costume design by Cate Clelland – constructed by Robyn Pearson

Lighting design by Michael Moloney & Tim Levy

Presented by CantaViva - Canberra Rep Theatre 3rd – 5th April 2025.

Matinee performance on 5th April reviewed by BILL STEPHENS


Lucus Allerton & Sarahlouise Owens performing "Opera's Bad Girl"

 Well before Melba, there was Anna Bishop, an English soprano who, at the beginning of her career married composer, Henry Bishop, best known as the composer of the sentimental ballad, Home Sweet Home.

Having borne him three children and built a reputation as one of the finest sopranos of her day, Anna Bishop created a scandal by abandoning her husband for a French harpist, Nicholas-Charles Bochsa, with whom she toured widely before he died during their first tour to Australia and was buried in Camperdown Cemetery.

Undeterred, Bishop continued touring internationally, enduring travel by ship, coach and even donkey. Along the way, she survived a shipwreck in which she lost all her costumes, jewellery and musical arrangements, was accosted by marauding Mexican bandits, and re-married, this time a diamond merchant. She gave her last public concert at age 73 and died at 74.

Although Bishop is largely forgotten now, her story fascinated Sarahlouise Owens, herself an accomplished soprano with international experience who, following extensive research, wrote a script, enlisted the services of directors Tony Turner and Cate Clelland and much sought-after accompanist, Lucas Allerton; to devise and perform this remarkable little gem of a show.

 
Lucus Allerton & Sarahlouise Owens performing " Opera's Bad Girl"

Introduced by Allerton, elegantly attired in concert tails, Owens, assuming the persona of Anna Bishop, sweeps on to the stage, splendidly costumed in a crimson gown and jewels. Surrounding her are souvenirs from her travels which she draws upon from time to time to illustrate her stories.

Perfectly equipped to portray a prima donna, Owens draws on her own considerable stage experience and superbly trained voice to represent Bishop as imperious, cultured and dignified, but with a wicked sense of humour and certainly not averse to sharing juicy snippets of gossip about famous contemporaries with whom she vied for audiences.

Eschewing microphones, Owens commands the room as Bishop, sharing her anecdotes about her triumphs and trials, shedding crocodile tears when recalling the pain of leaving her children, and demonstrating the voice which won her fame by offering no fewer than sixteen vocal items, all of which were significant to Bishop’s career.

Besides familiar melodies like Flotow’s The Last Rose of Summer, Packer’s Little Nell, the folksong The Harp That Once Through Tara’s Hall and her husband’s famous Home Sweet Home, also included were demanding arias from operas in which Bishop appeared including Let the Bright Seraphim from Handel’s “Samson”,  Spargi d’amaro pianto from Donizett’s “Lucia di Lammermoor” and  Di tanti palpiti  from Rossini’s “Tancredi, which Bishop premiered.

Of particular interest was the inclusion of arias from operas now virtually forgotten such as Mercadante’s “Francesa Donato”, Balfe’s “Maid of Artois” and Boschsa’s “Linda di Chamonix”, all sung in the language in which they were written, and all superbly accompanied by Lucus Allerton.

Besides his flawless accompaniments, Allerton also added gentle humour to the proceedings by risking the ire of the diva by inserting cheeky musical embellishments to her descriptions.

An artistic combination of travelogue, history lesson, classical recital and parlour concert, “Opera’s Bad Girl” is a thoroughly entertaining, brilliantly presented tour de force by Saralouise Owens.

One is hard- pressed to think of another singer capable of sustaining character throughout the long, detailed monologue which frames the musical content, while delivering superbly judged renditions of demanding arias, with such restraint, finesse and humour.  

But then, just when you think her performance couldn’t be bettered, she dazzles further with an encore; a blissful rendition of Bellini's Casta Diva from his opera “Norma”.   


                                                    Images by Sabine Friedrich   


     This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au

Monday, April 7, 2025

Film: Mental Health & the Actor's Life, directed by Eden McGilchrist and Daniel Widdowson. Reviewed by Helen Musa

Daniel Widdowson, co-director and interviewer

Once again, director, writer, actor and former Daramalan College student, Daniel Widdowson, has come up with a documentary that turns the spotlight on a lesser-known aspect of Australian life, this time in the film, Mental Health & the Actor's Life.

In 2022 his groundbreaking doco, Trafficked to Australia, found that most Australians had no idea that there was human trafficking, let alone slavery, in Australia.

Widdowson, who is also artistic director of the company Salthouse Creative, has now taken a close-up look at a subject to which most Australians wouldn't have given a moment’s thought, veering as the public view does between envy of highly-paid superstars and contempt for people they often advise to “go and get a day job.”

By interviewing performers as varied as former Miss Universe Australia Daria Varlamova, casting director Tom McSweeney and his old drama teacher, Joe Woodward, Widdowson found examples of sexual abuse, unpaid gigs, derisive treatment by producers, depression and anxiety caused by missed roles and long gaps in employment—“resting,” as they say in showbiz.

The affable Widdowson appears sometimes with a beard and sometimes not, as the film was cut together out of order from the way segments were shot.

His approach is to interview individuals one might expect to be exemplars of success, but in a casual and encouraging atmosphere, drawing them out with empathy and insight.You sense he's one of them..

Actor Ben Brock for instance, who has worked in corporate roleplaying, leadership, radio, television and theatre in everything from Home & Away and Murder in The Outback for Channel 4 in the UK has a degree in psychology and outlines how an actor’s life can be impeded by mental illness.

Panic attacks, depression and apathy are big problems for people with a lot of time on their hands. “Reflection can be dangerous,” as he says.

Next, Widdowson turns to Sophie Carter, who after graduating from WAAPA enjoyed a 20-year career in the music theatre sector, but later opened a private practice, Centred Stage, centredstage.com, focusing on mental health and well-being for people in the arts industry where, she tells Widdowson, in her earlier days there was very little talk of mental health issues, although that’s changing.

“It's a fact that you are going to be rejected,” Carter says, “and it's not spoken about enough.”

Actor Todd Keys, who’s played lead roles with Opera Australia, now works as a speech pathologist, notes that once while working at Fox Studios he took a look over the fence, as it were.

“There they were filming Moulin Rouge and here we were on $18 an hour,” Keys says.

On and off, he was still living in and out of his family home—“so destroying,” he says, “but tenacity is the key.”

Miss Universe Australia 2021, Daria Varlamova

Miss Universe Australia 2021, Daria Varlamova, is now a therapist and mental health advocate and tells Widdowson of her experiences with ADHD, relating how when she was a young schoolgirl a tactless teacher told her she was "a bit ditzy,” but there was more to it. Her condition was eventually diagnosed and successfully medicated.

“The essential thing is to have a good sense of yourself,” Varlamova says.

Widdowson’s old drama teacher, Joe Woodward, talks of his life-changing visit to see Lindsey Kemp's production Flowers, based on a book by Jean Genet, saying, "it shook your paradigms and ways of thinking and seeing of the world.”

Describing the anxiety around working in the theatre while supporting a family, he reports, "Sometimes I couldn't breathe, I felt the ceiling was closing in.”

But, he concludes, art can give people a sense of balance, especially theatre, where you have to perform in front of others.

Chloe McWilliam, singer/actor/comedian/dancer and well-known for her role as Elle Woods in Legally Blonde the musical, relates how she had heard of her brother’s death while in a show but found the strength to go back on stage, although that might have been pushing herself too far.

Acting coach, Brad McMurray, suggests to Widdowson that many people in the acting profession don't like themselves, so can be very vulnerable. He relates how the suicide of a young man he advised had weighed on him.

McMurray has gradually walked away from the corporate side of acting and now runs The Actors Club, on the Gold Coast which helps young actors dealing with early emotional burnout.

American-born casting director Tom McSweeney, who moved with his family to the Gold Coast, describes periods of massive employment and periods of drought.

“Every time you finish a project,” he says, “you convince yourself you'll never work again…time goes by and it tests your resolve.”

Once after he got an Emmy nomination, for eight months he couldn't get a job because people assumed his fees had gone up, even though he didn’t get the Emmy in the end.

He cautions that people you meet at auditions are not the enemy so it’s best not to waste your energy being jealous of them.

Former producer, arts administrator and tour manager, Simone Parrott, now devotes her time to mentalmatters.com.au

Once, she says, after a big production was canned and she woke up homeless on her parents’ couch, she was saved by an interviewer from an unsuccessful application, who got her a place with the Cameron McIntosh organisation, where she ended up in one of their top jobs.

“We need to put in additional strategies and mental first aid training for the arts industry. We need to know how to notice signs and symptoms,” Simone Parrott says.

Widdowson takes a side look at the resilience of an old friend, Vivien Sale, who spent a lifetime in film and showbiz after her supportive father helped her settle into digs in Coventry UK when she was hired as a hoofer in a panto at age 16.

Towards the end of the film, he takes a dive into the world of younger performers, lining them up as he heads towards his peroration but pausing to praise the many support networks across the country, including Canberra Youth Theatre.

Widdowson seems almost breathless in his eagerness to squeeze in the stories of so many articulate and forthcoming interviewees.

There’s Jamie Rogers from Canberra, only 12-years-old when playing Billy Elliott in a production that finished early because of covid.

“When we found out it was closing,” Rogers says, “we had tears running down our faces, but I had a good family and great support through the post-show blues.”

There’s activist Joshua Maxwell, who co-founded Jopuka Productions, a youth arts company based in the Central Coast, and Australian-born Sarah Monahan, the former child actress who was abused by Hey Dad star Robert Hughes, her on-screen father.

Annie Rose Buckley with the cast of Saving Mr Banks

There’s Emma King, who came up through McDonald College, who signed up for the RISE (riseperform.com.au) program, which teaches the importance of a resilient mindset in achieving success. The course’s focus on recognising “what makes you different” was a revelation to her.

Nothing is harder than knowing where to end, and Widdowson almost doesn’t get there.

He quickly summarises the main possible ways of overcoming mental health threats — having a supportive family, maintaining a good temperament, embracing one’s uniqueness, staying connected with people who inspire you, joining an acting group, standing up for yourself and taking preventative steps.

Eventually to wind up, he turns to an email he received from actress Annie Rose Buckley, who as a child, featured in the 2013 film, Saving Mr. Banks, starring Tom Hanks and Emma Thompson.

Buckley is forthright in her assessment, admitting that she started her career with a positive experience which nonetheless negatively affected her mental state, because she was always comparing her childhood success to her next opportunities.

“I was grateful for the role, but I despises the uncertainty,” she says.

Nonetheless Banks ends on a positive note as she says of her acting career, “I still love it and want it. This is my driving force.”

That’s the paradox on which Widdowson’s film rests.

Mental Health & the Actor's Life, by Daniel Widdowson, viewable at https://www.youtube.com/watch?v=e2l3YBFfYJk&t=10s

Further details of all interviews are available at https://salthousecreative.com.au/mentalhealth/