Red Phoenix Theatre. Holden Street Theatres. 25 May 2018
So it comes to pass that history is littered with mad men in power. As we wring our hands over Trump and Kim Jong Un, we perhaps may take quivering comfort in the fact that Rome once upon a time had what one could only call a completely sinister psycho as it leader.
Caligula was reputed to have had a child’s head cut off to cure his cough.
He had people executed just to make a point. If life was dull for him, he’d close the grain stores and cause a famine.
According to this theatrical interpretation of Caligula’s life, one written by Albert Camus and newly translated by David Grieg, 29-year-old Caligula had suffered some sort of dark epiphany at the death of his sister, with whom he had an incestuous relationship, and he believed that life was absolutely pointless. Hence, his rule over Rome, its citizens and its patricians, was to be one of pitiless menace. His subjects were to be his playthings.
In Michael Eustice’s sleek Red Phoenix production, the Roman senators are a clutch of lazy, opportunistic and conniving acolytes. Eustice has cast them beautifully and clad them in elaborate short togas in which the actors have had to learn to bend from knee like girls had to do in the miniskirt era. These awkward togas are almost characters in their own right and they would be distracting were it not for Robert Bell’s portrayal of Caligula. What a portrait of sublime insouciance he paints. How perfectly has he tapped into Caligula’s lethal mood swings: calculating, bored, unsympathetic, charming, manipulative, ever remorseless. His movements are considered, carefully paced, just as his words are enunciated to the last spit of an articulate “t”. He vamps. He torments. And, oh, what a surprisingly effective visual treat arrives when he is unveiled as Venus.
Well directed and artfully compelling for every moment he is onstage, Robert Bell continues to be an exciting presence on the Adelaide stage.
The actors in togas playing the bevy of senatorial yes men are clearly having fun with their roles. They’re fine and seasoned actors all, and they can measure the degree to which they may ham it up. They are David Grybowski, David Lockwood, Joshua Coldwell, John Rosen, Malcolm Walton, and Adrian Barnes. The world “patrician” does not spring to mind as they establish their characters. They are a political parody. They cluster, they swarm, they mass, they grovel, their movements very nicely plotted by director Michael Eustice.
His brother Brant Eustice plays Cherea, the brains of the pack and the man from whom Caligula seems to seek approval. Eustice is a poignant picture of troubled integrity as he sits reluctantly on the throne with Caligula at his feet. As with his interactions with the young poet, Scipio, touchingly played by Mark Mulders, Caligula is hellbent on proving that everything is hypocrisy. Loyalty to one cause is disloyalty to the opposing one. Heads, he wins. Tails, you lose. Camus’s play is a wonderfully provocative contemplation on ethics and morals, on love and principles, on power and madness, on political intrigue and political expediency.
Women are relegated to the background in this world. Their power depends upon Caligula’s favour and this is mercurial. They work hard to maintain self-preservation. Helicoin is the one-time slave who became her master’s muse, the wise counsel who neither wins nor loses. For the wonderful Tracy Walker, her character is a walk in the park. Similarly, Lyn Wilson is solid and simpatico as Caesonia, the older woman who assumes the role of his lover. Her denouement is heart-stopping. Ruby Faith as one of cruel Caligula's playthings makes good effect of a cameo role.
Many are the magical moments of this Red Phoenix production, set on a darkly minimalist stage featuring a great dulled mirror on which Caligula may confirm reflections of his greatness. The lighting is effective and the logistics of using three entrance and exit areas of The Studio bring the audience right into the embrace of the action.
Potent, at moments funny, Caligula is another deeply rewarding Red Phoenix night at Holden Street.
Samela Harris
When: 24 May to 2 Jun
Where: Holden Street Theatres
Bookings: holdenstreettheatres.com or 8225 8888
State Opera Of Sa. Adelaide Festival Theatre. 15 May 2018
There are two performances left of this highly satisfying production: Thursday 17 and Saturday 18 May. Note that curtain up is at 7:30pm, so don’t arrive for an 8:00pm start like several did last night thereby missing the exquisitely beautiful and iconic tenor-baritone duet Au fond du temple saint (which translates as In the depths of the temple).
The latecomers missed an absolute treat. Baritone Grant Doyle (as Zurga) and tenor Andrew Goodwin (as Nadir) combined to produce an exquisitely balanced performance of In the depths…, and both owe a debt of gratitude to conductor Graham Abbott for setting an ideal pace and dynamic acoustic landscape that perfectly complimented their voices. There have been more vibrant and vocally powerful renditions but none have been sweeter or more heart felt.
Bizet’s The Pearl Fishers is a pleasing opera, but it does stand in stark contrast to Bizet’s other well-known opera Carmen and does not obviously plumb the same depths of emotion. However, it includes some sumptuous orchestration and many memorable lyrical melody lines. Abbott, who is one of Australia’s finest musical commentators and music makers, provides some deep insights in his program notes and comments that many of the harmonies attempt to evoke the mystical East and are “intriguing and delicious”. With that understanding he extracted the very best from the Adelaide Symphony Orchestra and breathed freshness and new life into the score.
Director Michael Gow chose to set the opera in the times of colonial Europe. Unlike many attempts at ‘updating’ the setting of an opera, this reimagining works quite well, but is probably unwarranted. As expressed in the program notes, the rationale for it is more academic than inspired. At times Gow’s direction was a little uninspired, with a number of ‘stand and sing’ scenes.
Robert Kemp’s set was constructed on a grand scale and evoked the sense of a colonial garrison located in Ceylon with local indigenous influences. Zurga and Nadir were played as colonials while the other principals and members of the chorus were costumed as Ceylonese.
Matt Scott’s lighting was a highlight of the show, with compelling effects of seascapes, starry nights, tropical storms and fiery infernos.
Pelham Andrews played Nourabad with requisite menace and the audience was never in doubt that he was the ‘baddy’.
The standout of the production, apart from Abbott’s masterful control of the mighty Adelaide Symphony orchestra, was soprano Desiree Frahn in the role of Leila. Every note she sang soared from the stage like a graceful bird on the wing. Nothing was forced, no wasted tremolo - just a beautiful purity that was in perfect empathy with the character she was portraying.
This production is definitely worth ‘taking in’. Whether you are opera-curious, or a seasoned opera connoisseur, this production offers much.
Kym Clayton
When: 12 to 19 May
Where: Festival Theatre
Bookings: bass.net.au
Irregular Productions and Lydian Productions. The Parks Theatre. 12 May 2018
I do not consider myself to be religiously inclined. In fact I would go so far as to say, the thought of being preached to about any form of religion makes me feel quite uneasy. It is then, with some trepidation that I front up to the 2011 revival of Godspell. The show, which is playing at The Parks Theatre, has been produced by Irregular Productions and Lydian Productions and is directed by Karen Sheldon.
Godspell is a musical originally conceived and directed by John-Michael Tebelak with music and new lyrics by Stephen Schwartz. It is based on a series of parables mostly taken from the first book of the New Testament – the Gospel of Matthew. However, for reasons partially outlined above I will avoid comment on the structure or nature of the show’s content.
Presented on a thrust stage, The Parks theatre offers a unique and engaging staging opportunity for a show about community and inclusion. The scenic concept by David Lampard, with set painting by Brian Budgen, places the action in a public space, perhaps at the back of some project housing. In this place we find the everyman, but more specifically a youthful and vibrant bunch of enthusiastic disciples. At the centre of the round, a large circular platform surrounded with an eclectic selection of chairs doubles as both rostrum and a table. Radiating out and into the auditorium the play space continues; the performers occasionally presenting from amongst the audience, including us, and even drawing a few of us onto the stage.
The prologue, Tower of Babble, doesn’t immediately settle one’s fears. Enter Joshua Angeles as John the Baptist singing Prepare Ye. His voice chimes clear as a bell on the lyric and he commands attention from atop a raised railing overlooking the stage. When Mark Oates, as Jesus, begins to disseminate his first parable this production shakes off the predictable religious conformity, and begins to celebrate the power of community. Inclusiveness and accessibility is suddenly made possible by well-structured humour. Godspell is actually funny, and not afraid to make fun of itself.
In what must have been a coup for the production team casting this show, not one of the players delivers anything short of a professional performance. From the aforementioned Mark Oates and Joshua Angeles (who also plays Judas), to the stunning cast whom all play themselves; Harry Nguyen, Nick Munday, Jemma Allen, Ron Abelita, Katie Packer, Ruby Pinkerton, Maya Miller, and Scarlett Anthony. Each and every performance sets, and maintains, a professional standard in a truly ensemble presentation.
There are standout moments worthy of mention. Maya Miller’s rendition of By My Side is sung with stunning control and absolute belief and transcends in the three-part harmony with Jemma Allen and Scarlet Anthony. Mark Oates' gorgeous performance of Beautiful City is a pleasure to the ear. But props go to Ron Abelita’s entire characterisation which is so endearing, and charmingly constructed that is sets a tone for the rest of the cast, not to mention his impassioned performance of All Good Gifts.
In fact, everything about this show – from staging to lighting, from choreography to sound, and from musical direction to performance – is of an exceptionally high standard. This show is an object lesson in the professional levels an unfunded, amateur production can attain. Bravo!
Kerry-Lynne Hauber’s choreography is so clever and effective it blends effortlessly into the other production elements. Utilising the entire space it beautifully communicates the feeling of a community united in celebration and love. Martin Cheney’s musical direction is superb, and with band members spread all around the room it is thanks to Jamie Mensforth’s brilliant audio design and management that such a professional balance of cast vocal and instrumentation is achieved. Brad Sax’s lighting design takes full advantage of the Parks' superior rig and again heightens the professional standards of this overall production. The fairy lights, however, are unnecessary and distracting in the crucifixion.
Godspell tells a well-known story – I don’t think I’d be spoiling it for you to say that Jesus dies in the end – but it takes a new and welcome approach to the content which makes it accessible even to those who don’t identify as religious. This production takes a pretty decent show and delivers it at such a professional standard, that it should not be missed. If you are feeling the same trepidation I was, shake it off and take a ‘leap of faith’. This Godspell is worth it.
Paul Rodda
When: 10 to 19 May
Where: The Parks Theatre
Bookings: trybooking.com
State Theatre Company in association with Adelaide Festival Centre. Dunstan Playhouse. 10 May 2018
Sense and Sensibility is sensational! Artistic director of State Theatre and director of this production, Geordie Brookman, and his ensemble cast with a few guests, make this old chestnut an absolute joy to behold. American Kate Hamill is renown for her witty adaptations of classic novels. Sense and Sensibility was first on the boards in 2014 in New York. She followed it up with Pride and Prejudice last year, and The Wall Street Journal awarded her Playwright of the Year in 2017 for her efforts.
Jane Austen wrote both these extremely popular and now-quaint bonnet dramas in 1811 and 1813. They similarly involve a bevy of beautiful daughters without dowries, who thus require men with means - but may settle for less when love conquers all. There are loads of characters moving in and out of the girls' lives and while I have been too dull to read either novel, I did a bit of homework and drew up a relationship chart based on information from Wikipedia. I kept my schema on my lap during the show - much to the amusement of the nineteen-year-old daughter of a friend of mine who accompanied me, as she had actually read the novels. PS She loved the show!
So why was this production so great? Well, everything really. Hamill's script is cheeky and whimsical, and captures the sweep and detail of the action, and it couldn't be done in under two hours-fifty, but that's OK when you are enjoying yourself. Designer Ailsa Paterson provided a set very similar to the recent Hamlet opera, a large high-panelled ballroom-size room with a feather chandelier. The soft pastel wall colour magically transformed vertically into another moody hue, and yet even more colours were rendered by Geoff Cobham's brilliant lighting. The period costumes were also colourful, crisp, varied and very stylish. Theatre magic and the understated humor of the production was established in an early scene - the first meeting of Edward Farrars and Elinor - where chairs pushed from offstage slid like curling stones across to floor to cease motion at exactly the right place next to table. There was even a gasp from the audience. Bravo stage crew! Stuart Day wrote novel arrangements for a few bars of modern tunes that reflected the mood of the love-struck in scene changes.
As great as the aforementioned scene was from a creative and performance point of view, it was but a mere appetizer of the absolutely lovely acting from all players - each manifested a major and one or more minor roles, participated in whacky scene changes and also impressed as bonneted ancillaries. Homegrown Nathan O'Keefe was a study in understatement as a delicate, sensitive and nervous Edward. Bravo! Anna Steen, as the object of his affections, Elinor, beautifully suffered with unrequited love and disappointment. Bravo! The State acting ensemble also includes Rachel Burke, Miranda Daughtry, Rashidi Edward and Dale March. Burke gave an impetuous, pouty and immature Margaret. Daughtry as the strong-willed Marianne provided an excellent contrast to her older sister, Elinor. Edward was an elegant and charismatic Willoughby, and March an introverted and stiff Brandon. All bravo! The ensemble was augmented by sturdy stalwarts of State's stage - Caroline Mignone, Lizzy Falkland and, last but not least, the always amusing Geoff Revell - who all made the most of several characterisations. Bravo to all of them!
But they wouldn't have looked as good as they did without director Geordie Brookman's tight rein on style. His vision was clear and crisply executed with regimental precision.
If you said you would never go to a State Theatre show again after sitting through their Festival offering - the dark, heavy-handed, unimaginative and cliché-ridden In The Club - now is the time to return. Sense and Sensibility is a must-see.
David Grybowski
When: 4 to 26 May
Where: Dunstan Playhouse
Bookings: bass.net.au
University of Adelaide Theatre Guild. Little Theatre. 5 May 2018
My first viewing of Australian playwright Stephen Sewell's Myth, Propaganda and Disaster in Nazi Germany and Contemporary America was State Theatre's excellent production in 2003 - the first since the world premiere. I was blown away by the audacious honesty and shear bravery in tackling the issues of the erosion of American civil rights and executive sanction of torture that followed the destruction of the twin towers on 11 September 2001 (9-11) via a frighteningly plausible narrative. In an interview conducted after Myth.... and published on the Currency Press website, Sewell said, "...it was only gradually that I realised that the United States had in fact abandoned [Western values, such as the rule of law, the outlawing of torture and suchlike] decades before, and that torture centres such as the School of the Americas, in Fort Benning in Georgia, renamed after 2001 as the Western Hemisphere Institute for Security Cooperation, had been training torturers and death squad militias for many years." Surmises like this have spread beyond the domain of rabid leftists like Sewell; few people believe it's not impossible any more.
A wonderful device used by Sewell to bring Australia into the story is to make Talbot an Australian academic in a New York university. Myth... is the title of his provocative post-9-11 thesis. For a social researcher so forward and controversial in his thinking, he would have to be the most naive person in the world to be utterly surprised about the unwanted attention his thesis attracts; Talbot is no Jordan Peterson. Talbot's protagonist is a shadowy spook bent on bringing him back into the neoconservative fold, by force if necessary. Miller's The Crucible meets Orwell's 1984, and there is even a self-reference to Kafka's The Trial in case you still don't get it.
Maybe while Sewell is Head of Writing for Performance at Sydney's National Institute for Dramatic Arts, he is reflecting on the dialogue in his wordy play of fifteen years ago. Dialogue like this made-up example:
A: "Did you go to the market?"
B: "What?"
A: "Did you go to the market?"
B: "The market?"
A: "Yes, the Central market."
B: "Why do you want to know?"
A: "I needed some bread."
B: "So, it's my fault we don't have any bread?"
Sewell's characters in this play are absolutely the worst communicators, and they are a lesson in how to escalate a difficult conversation into a hopeless confrontation - thus rendering the drama I suppose - but it's tedious when it's overdone.
Director Eric Strauts theatrically creates Sewell's exciting New York of city view apartments, intellectually stimulating university life (and cynically unhappy university life eg. Who's Afraid of Virginia Woolf?), creative writers, and even a visit to the Guggenheim. His actors are well directed into some shattering and searing scenes.
Fagan as the much abused Talbot gave us a palpable mental deterioration. His nemesis, played by Steve Marvanek, looked a bit corny in sunglasses and gloves, but overcame looks with malevolence. I have seen the work of these wonderful actors many times and they would have been better suited in traded roles. Who needs enemies when you have friends like Talbot's Max, played with Machiavellian intent by sharp actor James Black. His work in the conversations between Talbot and Max were highlights. Bravo to Yasmin Martin as the wide-eyed student. She was a terrific amalgam of 1960s idealism, new century internationalism and functional feminism. Tantalising echoes of David Mamet's 1992 Oleanna were in the drama between Talbot and Martin's Marguerite. Tim Edhouse nailed the role of the dean of Talbot's faculty. His calculations over how to deal with Talbot had a real-world glint to them. Jessica Carroll might have gotten more out of her contribution as Talbot's screenwriter wife, Eve, but Sewell took her role too many places away from the main story. The exception was that she was a great vehicle for Talbot to go on a rant about what's important in life - movie writes or human rights.
Brittany Daw's set design had a feature unseen by myself at the Little Theatre and may be a first - the use of risers to provide different floor levels to segmented acting scene areas, which was good. The red pill-shaped motifs decorating the walls reminded me of code (The Matrix) and blood; maybe they meant something else or nothing at all. Unfortunately, a lot of important and frequent action (Talbot's office, Max and Talbot) was squished into the tiny upper left portion of the acting stage which gave a few people a neck ache. The frequent use of the image of a Nazi-like eagle poised over the USAF insignia made the point of parallelism chilling. Wonderful murder mystery music (Isobel Clemow-Meyer) covered the stop-start scene changes, although transitions might have worked better.
If you think we live in dangerous times, this play is a reminder that the buffoonery of Trump is peanuts compared to the erosion of civil rights and sanction of torture that happened under Bush after 9-11. It is also a compeller to be constantly vigilant and to exercise your democratic rights. Indeed, I found the abuse of power in the play deeply saddening, more so because I don't do enough in my own backyard, like protest against all these crap apartment buildings going up in the city. My complaints about the script and production are small beer compared to the big ideas and scary possibilities explored in the play and I urge you to see it.
Heed what Martin Niemöller (1892–1984) wrote, referring to the Nazis:
First they came for the Socialists, and I did not speak out—
Because I was not a Socialist.
Then they came for the Trade Unionists, and I did not speak out—
Because I was not a Trade Unionist.
Then they came for the Jews, and I did not speak out—
Because I was not a Jew.
Then they came for me—and there was no one left to speak for me.
David Grybowski
When: 5 to 19 May
Where: Little Theatre, University of Adelaide
Bookings: trybooking.com