Canberra Times review
http://www.canberratimes.com.au/entertainment/theatre/canberra-theatre-review--august-osage-county-by-free-rain-20141020-118oe8.html
Alanna Maclean
Tuesday, October 28, 2014
Monday, October 27, 2014
Where I End & You Begin
Written by: Cathy Petocz
Directed by: Caroline Stacey
The Street Theatre
18 - 26 October 2014
Reviewed by Samara Purnell
Directed by: Caroline Stacey
The Street Theatre
18 - 26 October 2014
Reviewed by Samara Purnell
What parts of us are originally our own? What idiosyncrasies and traits
have we absorbed from past relationships? Who are we, really? Where do I end
and where do you begin? Perhaps we will find an answer here, perhaps not.
This play, "Where I End & You Begin", written by Canberran
Cathy Petocz, explores these questions. Petocz was inspired to write the play
after the unsettling realisation that her laugh had become a replica of her
ex-lover's laugh.
Under the guise of a detective investigation, Polly, Hazel, Timothy and the
aptly named Whatshisname begin, or perhaps continue, their seemingly timeless quests
to find a missing person, and a missing memory, ultimately leading back to
themselves, each other and their relationships. It’s as if they are compelled
outside of their own volition, to undertake this search and piece it all
together.
There were poignant and hard-hitting moments amongst a jumble of emotions, sentences,
thoughts and actions. But it took a little while and some personally familiar
sentiments and incidences before it was possible to suspend the search for
anything complete or linear and just go with the flow.
The characters’ interactions, fuelled by frustration, affection, and infatuation,
hurt and hate drift over the audience, who are left to pick out the bits that resonate,
as some of it really doesn't seem to make much sense and added to the overall
feeling of a disjointed internal monologue.
The ethereal staging saw the actors perform primarily on a raised bed of
white fur, with groups of white bags arranged overhead to look like drifting
clouds. Director Caroline Stacey made good use of the theatre space, whilst
seating the audience on stage, amongst the action. Visually this production was
impressive. A spliced, creative and multifaceted soundscape, designed by Kimmo
Vennonen effectively filled the space.
The women (Kate Hosking as Polly and Ylaria Rogers as Hazel), had slightly
more developed characters and performed with more energy than Raoul Craemer and
Dylan van den Berg as Whatshisname and Timothy, respectively. Two stories
unfolding concurrently, one set in outerspace, presented a challenge for the
actors in the exact timing of lines and matching up of movements but overall this
was well done. Kabu-Okai Davies played Emmanuel, a Morgan Freeman-esque overseer,
presumably to somehow link the stories together although the reason for his
involvement is not entirely clear.
The last ten minutes of the performance literally brought it back down to
earth, and could have been omitted so as the play ended on a more surreal and visually
dramatic note.
“Where I End & You Begin” could leave you analysing your own nuances,
missing a lover, reminiscing on self and relationships and how we are never
completely insulated from our interactions with each other or it may leave you
wondering what on earth (or in space) you’ve just seen.
KOSTROMA - Russian Dance Spectacular
Presented by Grand International Concert
Reviewed by Bill Stephens
Since the early 1960’s, when Eric Edgley began importing
Russian dance shows, Australia has been treated to some of the finest dance
ensembles available in Russia. However,none have been more impressive than “Kostroma” which is currently coming to
the end of its world-wind Australian tour before moving on to New Zealand.
Though this is its first Australian tour, “Kostroma”, which was founded in the early 1990’s, has
already carved out an enviable reputation on the International touring circuit
for its superb dancers and stunning production values. The founders of the
company, Elena and Yuri Tsarenko, tour with the company, together with their
two children, Ivan Tsarenko, (one of the lead dancers and stunt coach), and
Maria Veshkina, (who’s responsible for the touring and public relations
arrangements).
The whole company is very family orientated. 80% of the 50 elite dancers who make up the troupe are married couples, and they tour with 10 tons of costumes and scenery which includes 600 exquisite costumes and 300 props, among them Tatar bells, medieval spears, shields, banners and flags.
What sets this handsome company apart from similar dance
shows is it’s attention to detail, the imaginative staging of its performances,
and the precision and skill of its dancers. The various dance numbers are
arranged as a history of Russia told through a seamless series of cleverly staged
sequences. The beautifully designed costumes eschew authenticity in favour of
artistic theatrical representations of those worn in the various regions
represented. Similarly the impressive
silver filigree setting, which includes a huge screen on which an
ever-changing montage of beautiful images, some abstract, others realistic, are
projected to enchant and inform.
The stage is constantly awash with action, whether by superbly
trained dancers in exquisitely detailed costumes, eyes downcast and faces
serene, gliding around the stage executing unbelievably intricate manoeuvres, or
by the exciting hordes of bold Georgian warriors, or drum-beating Caucasians,
catapulting around the stage performing eye-popping stunts. There is delightful
fun as a dancing horse intrudes into a charming Russian Tea Shop scene.
Especially impressive, given the gruelling tour schedule, is
the attention to detail. Each dancer is impeccably turned-out, not a hair out
of place, nor a hand or foot. The choreography is precisely executed, and the
costumes are superbly presented, not a crease or crinkle to be seen.
This is a top quality show. Should it come your way, do
yourself a favour and don’t miss it. Oh ! and take the kids, they’ll be just as
enchanted.
This review appears in Australian Arts Review
WHERE I END & YOU BEGIN
Written by: Cathy Petocz
Designer: Imogen Keen
Sound Design: Kimmo Vennonen
Lighting Design: Gillian Schwab
Street Theatre Canberra - 18 - 26 October 2014
Street Theatre Canberra - 18 - 26 October 2014
Reviewed by Bill Stephens
Cathy Petocz surreal play, "Where I End & You Begin" is an attempt to investigate notions of self. It has been developed through The Street’s “The Hive” and “First Seen” programs over a period of four years. The work was shortlisted for Playwriting Australia’s National Script Workshop 2013, and this premiere season at The Street received Arts ACT project funding.
Set in a multi-sensory double universe and filled to the
brim with doppelgangers, impersonators and monstrous stand-ins, the play
concerns two private detectives who are investigating missing person cases,
light years apart. Or at least that’s what the program description promises.
The main characters are a young man, Timothy (Dylan van den
Berg) who has been experiencing blanks since he met Hazel, (Yalaria Rogers),
the young woman of his dreams. He seeks help from Polly (Kate Hosking), who
appears to occupy another time-zone, and is being tracked by a character from
outer space with the unlikely name of Whathisname (Raoul Cramer). A fifth
character called Emmanuel (Kabu-Okai Davies) wanders in an out of the
proceedings like an escapee from “Pippin”.
The characters spend a lot of time enquiring of each other
“Who are you?”, “Why are you here?”, “Are you alright?” and answer with lines like
“I am who I remind you of” or something similarly quasi-existentialist phrases.
Occasionally the dialogue rewinds, or stops mid-sentence, conjuring up thoughts
of “Waiting for Godot” or even “Alice in Wonderland”, particularly when one
character disappears down a rabbit-hole.
The actors do their best to make something of the
characters, but as the proceedings drag on, it’s difficult to engage with characters
who exhibit neither depth or purpose,
and it’s hard to escape the feeling that the play is going nowhere, slowly.
Despite this, the production itself is impressive. Caroline
Stacey has pulled out every ace from her capacious bag of directorial tricks to support the text.
An experienced cast - an imaginative setting, which has the audience seated on the
stage and which encompasses the entire Street Theatre auditorium - a booming
soundscape and flashy lighting effects - even face masks for the audience to wear at one point. However, by the final
scene, when Hazel and Timothy, trampling precariously over the auditorium
chairs, again asked each other “Who Are You?”, “Why are you here?”, many left
the theatre pondering the same questions.
This review appears in Australian Arts Review
Sunday, October 26, 2014
FOR THE WIN
QL2 Dance
Choreographed by Ruth
Osborne, Jamie Winbank, Jake Kuzma, Alison Plevey
Theatre 3, 17-18
October 2014
Review by Len Power
18 October 2014
47
dancers aged 8 – 18 from Canberra and surrounding areas came together last week
to perform ‘For The Win’, the 2014 QL2 project for young dancers. This year’s work, according to Artistic
Director, Ruth Osborne:
‘explored the ideas of winning and
competition; looking at what qualities are evident in being a winner and
whether winning is the aim anyway. The
project gives young dancers an introduction to working with a choreographer and
moving beyond “just learning the steps”.
It includes thinking about concepts and emotions, creating new movement
through improvisation and tasks, selecting and refining the most effective
movement ideas and rehearsing until it all flows’.
There
were seven items on the program that segued cleverly from one to the next. Four of the items were choreographed
individually while another had two choreographers and the large opening and
closing items were realized by all four choreographers, Ruth Osborne, Jamie
Winbank, Jake Kuzma and Alison Plevey.
The
clarity of the purpose of each item was impressive. The opening item was exciting with all 47
dancers onstage together. The shift of
focus from one grouping to another was well handled and the dancing was precise
and joyful. Smaller groups performed the
next five items which were a good showcase for the individual choreographers. Jamie Winbank’s choreography for, ‘A winner is
someone who wins’ was very clear in its intent with an atmospheric use of voice
overs to accompany the dance. ‘All aboard
the loser express’, choreographed by Jake Kuzma produced a strong sense of
melancholy and the choice of music to accompany the dance was excellent. ‘Mind Games’ by Alison Plevey was probably
the most difficult concept to put across but her creativity and clear purpose
made this a particularly memorable item.
The next item, ‘A win for the girls’, choreographed by Alison Plevey and
Jamie Winbank, was outstanding – a clever concept around empowerment for women and
it was imaginatively staged. ‘Wintendo’,
choreographed by Jake Kuzma, was inventive and humorous with a clever and
creative use of hand-held lights to enhance the action. The finale, ‘The Finish Line’, was a rousing
climax for the whole performance.
The
confident young dancers displayed an enormously infectious enthusiasm. In the big items, it was exciting see all 47 performers
onstage together moving with precision and looking like they’re enjoying every
minute of it. I can imagine some parents
going along dutifully to see their child perform and coming away delighted that
they have seen something very special!
Originally
broadcast on Artsound FM 92.7 ‘Dress Circle’ showbiz program with Bill Stephens
on Sunday 26 October 2014 from 5pm.
Friday, October 24, 2014
ONCE WERE LEADERS - AN EVENING WITH MAX GILLIES
Presented
by Wonder Productions
Canberra
Theatre
23-24th
October 2014.
Reviewed
by Bill Stephens
Max Gillies finally comes out. After years of hiding behind wigs, make-up and prosthetics to dazzle us with his impersonations of contemporary political leaders, we finally see the man behind the mask.
In his
new show “Once Were Leaders”, Gillies eschews the theatrical accoutrements of
his trade, to pay tribute to his script writers by revisiting some of his own
personal favourite scripts to illustrate their brilliance. Writers like Don
Watson, who wrote his Bob Hawke and Malcolm Fraser scripts, Guy Rundle, who
wrote the Graham (Richo) Richardson scripts, Patrick Cook and Heathcote
Williams, are all represented.
The
presentation style is simplicity itself. The stage is set with just a lectern, with a projector
screen behind, on which film of Gillies in some of his most famous
impersonations is projected at various intervals. Entering stage-right, he
commenced the show by dedicating this performance to the memory of Gough
Whitlam, who died during the week, and which tactfully was the only mention of
Gough during the show.
Gough’s
colleagues were not so fortunate as Gillies shared his own views on
contemporary politicians and leaders “who talk to us in short slogans..repeated
ad infinitum..who don’t deserve satire”. He also shared insights into how he
approached the creation of his various subjects illustrating each by performing
a favourite script for each character.
Billy
McMahon (Tiberius with a telephone), Bob Menzies, Malcolm Fraser, Andrew
Peacock, Bob Hawke (of course ), Margaret Thatcher, Ronald Reagan, Queen
Elizabeth, Kevin Rudd and Graham (Richo) Richardson and finally John Howard all
make the cut.
The
scripts of course are wonderful, and still stand up for their erudite and funny
content, and the large audience chortled and guffawed their appreciation
through-out. But the scripts are just words. It is what Gillies does with those
words, and his uncanny knack of capturing the idiosyncratic gestures and unique
vocal inflections of each, that is the real magic.
“Once
were Leaders” provides the opportunity to observe a great character actor at
work. Decades of refining and practising his art allows Gillies to instantly disappear
into the core of his subject, who then inhabits the room before your very eyes.
That his subjects prove so entertaining has much to do with the brilliance of
the script-writers, but it is Gillies artistry and superb acting skills which
brings them to life.
This review appears on the Australian Arts Review website.
This review appears on the Australian Arts Review website.
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