Australian Dance Theatre. Adelaide College of the Arts. 9 Jul 2016
History, time, and the flow of human obsessions are given the most thoroughly intelligent and fun-packed going over by choreographers Matte Roffe, Katrina Lazaroffe, Erin Fowler, Thomas Fonua and Lina Limosani.
Ignition, in its return to the ADT dance calendar, is just as exciting and valuable a means of showing off the choreographic caliber within the company, as it was always a means of belting out new ideas to think on.
Roffe’s Woolf! strips down Edward Albee’s 1962 play into 15 minutes of blazing choreography, managing to encapsulate gesturally all the restrained social and political norms of ‘50s relationships and of its two academic couples, the younger and older one.
Using a wall mirror on wheels allows this piece to go for speed, for hiding mysteries, revealing desire unburdened as it turns again and again. It’s full on stuff, injected with a 21st Century edge of awareness and urgency hinted at in the brilliant cheer leader rap delivered earlier in the work, “who’s afraid of Virginia Woolf, Virginia Woolf?!”
Lazaroffe’s Caught in Past Tense really does physicalise that sense we’ve all had of being ‘stuck’ in past actions or words and trying to escape them. What makes it really work, beyond the supremely sharp choreography, is that ‘bang’ moment. That invisible, thousandth-of-a-microsecond moment, dividing what you did or said from the next moment you’re meant to do or say something else, but repeat yourself instead.
The dancers are constantly expressing this series of wildly frustrating moments that don’t move on properly at wonderfully graduated speed; be it stuffing a speech up, repacking a case that’s fallen open, asking a question of someone. There seems no escape from the ‘past’.
Fowler’s Epoch, in choreography and design, takes the most minimalist approach to that grand span of history the word epoch encompasses.
The lighting’s everything. White on black, muted shadows revealing a gently evolving series of gestures and acts we associate with historic moments of success and failure throughout history.
Fowler attempts to simultaneously show these things as separate to a specific ‘time’ as much as they are also a continuum ever unfolding. As separate white columns dividing dancers and actions slowly blend into a shared circle, separate gestures become points of interaction.
Fonua’s The Village is an excerpt of his MALAGA, performed at Tempo Dance Festival, New Zealand, in 2015.
Colonialism in history is dealt with to extraordinary effect in this piece. Fonua speaks of the top down power of colonisation, the human zoo, in his choreographer’s note.
The dancers spend much of the time close to the ground, on their knees.
They function in tightly organised physical subservience which suppresses everything of them; colour and character of their native dress, natural expressiveness of the body and interaction with others. They are very much on show, living as orchestrated beings, not human beings.
Yet within this suppression, Fonua realises a strength and a vibrancy in balance against the confinement enforced. With supreme grace, dancers glide across the floor with sweeping movements at the knees, colonisation cannot totally break down the cultural life that exists.
Limosani’s One’s Wicked Ways, a full length work commissioned for this season of Ignition, brilliantly gathers all the thematic strands of the four works preceding it in a fantastic, gloriously pleasing way.
One’s Wicked Ways liberates in dance the full emotive and dark comic force found in Frances’s greatest writers of farce, Moliere. There are many actors who would jealously wish they could dance, as to perform Limosani’s creation, it’s so good.
The social, moral and political decadence of Moliere’s time has many parallels with the behaviour of 21st Century elites. Complete debauchery, mockery of moral institutions, corruption of public institutions, and lip service paid to the law as it suits.
It’s a wild romp dressed in regal white.
With precise timing, Limosani has the ensemble play out wicked thrills and spills of excess to thralls of tittering laughter from the debauchees as they flit from one naughty act to the next. The appearance of the purple robed Cardinal/nobleman, the bogeyman of the self serving elite, sets up Limosani’s piece for its sharpest commentary. As he is seduced and flayed to near nothing, so he also rises in attack.
The playful choreography of debauchery gives way to a searing fury of symbolised violence. Limosani’s careful work becomes a brilliant exploration of two sides of history’s coin. Oppression, and being oppressed.
David O’Brien
When: 9 to 16 July
Where: Adelaide College of the Arts, Main Theatre
Bookings: trybooking.com
Matt Byrne Media. Arts Theatre. 8 Jul 2016
The South Australian amateur premiere of Wicked is currently playing at the Arts Theatre, and Director/Producer Matt Byrne has assembled a great cast, and designed a beautiful production, to tackle this mammoth show.
Adelaide amateur theatre producers aren’t blessed with the enormous budgets of the professionals, and so with that in mind, what Byrne has managed to achieve is very impressive. However, despite the success in the areas where money has been spent, there are directorial choices and issues with pace that can, at times, make the visually spectacular show laborious to watch. One certainly feels the full 3 hours 10 minutes running time, a good 20 minutes longer than usual.
It has long been my opinion that some of Wicked’s content is superfluous to driving the core messages in the story; one feels it could greatly benefit from a fastidious edit with a red pen. Unfortunately Byrne’s production does nothing to alleviate this feeling, and rather, serves to highlight how much of the story could be cut with little to no effect on the narrative. One can hardly hold Byrne responsible for the choices of Schwartz and Holzman, however.
That being said this production is, for the most part, excellent. Moreover, Byrne’s lead performers are spectacular. Individually they are gorgeous singers and talented actors; together, a force to be reckoned with.
As Elphaba, Dianne k. Lang brings a very measured performance. Her Elphaba is strong and vulnerable, forthright yet respectful. Elphaba’s incorruptible nature is the cause of all her woes, and Lang imbues her with tragic honesty. Vocally, Lang boldly attacks the score and subtly finds the character’s nuances with professional ease.
Kat Jade is the perfect foil to Lang. Her Glinda begins in stark contrast to Elphaba and together they make the transition to best friends through a believably executed character arc. Jade is extremely talented; both in voice and comedic timing. She regularly steals her scenes with a great onstage presence. With a vocal belt like Katy Perry and the comic stylings of Rebel Wilson, Jade truly owns this performance.
Michael Bates brings beautiful voice to Fiyero and, along with Lisa Simonetti as Madam Morrible, Rick Williams as The Wizard, Sophia Bubner as Nessarose, Neville Phillis as Dr. Dillamond and Zak Vasiliou as Boq, rounds out a great lead ensemble. The chorus ably support in strong voice, movement and colour.
The costume design by Sue Winston, Anne Williams, Renee Brice and a team of assistants is a real highlight that delivers a professional edge. Byrne’s set design overall is well considered and wonderfully effective, though scene changes are occasionally slow and black curtains are brought in far too often. Sue Pole’s choreography is effective and musical direction by Paul Sinkinson is tight. The orchestra play beautifully and the sound mix is good. Mike Phillips’ and Ian Barge’s lighting is clever, vibrant, and effective but could have been improved with tighter and more deliberate focus.
The first amateur Adelaide performance of a show known for its theatrical grandeur is undoubtedly an impressive one. The performances are top notch and the production team has clearly invested a lot of time and money for a very professional look and feel. Congratulations to everyone involved.
Paul Rodda
When: 7 to 30 Jul
Where: Arts Theatre, moving to the Shedley Theatre.
Bookings: wickedsa.com, mattbyrnemedia.com.au, 8262 4906, BASS or dramatix.com.au
State Theatre Company and La Boite Theatre Company. Space Theatre. 6 Jul 2016
First of all, I have to make a disclaimer: I am a straight white male, and according to New York playwright Young Jean Lee (Asian-American female of sexual orientation unknown to me), I come from a privileged background, and I think she wants to make my type feel pretty uncomfortable through watching this play, which I did. The Young Jean Lee Theatre Company's motto is "destroy the audience." After dealing with some of the issues of the play in my own life over a few days prior to opening night, and then watching this unraveling of a broken family of straight white men, I came out of the theatre feeling worse than when I went in, so tick, the play is a success.
Straight White Men is an excellent import product; an unadulterated example brought right to our door of the issues bearing on contemporary theatrical playwrights in that centre of English-language drama, the Big Apple. Young Jean Lee has been described as "the most adventurous downtown playwright of her generation" by the New York Times, and in a bigger pond, was touted as "one of the best experimental playwrights in America" by Time Out New York.
The contrast of the beige living room of the comfortably well-off, where the action takes place, with blaring female rap music certainly gets you off balance from the start. We see three brothers approaching middle age, evidently gathered for Christmas cheer at Dad's house. Actors Chris Pitman, Lucas Stibbard and Hugh Parker present exuberant siblings used to shaming and rough housing each other without taking it too seriously. However, the potential for damage is so much greater when large male adults are doing the horsing around instead of kids, and this adds to the menace and tension in the setup of the narrative. They are pretty good dancers, to boot. Dad, played by veteran performer Roger Newcombe, seems to take it all in stride, and even when it goes to far, he simply goes to bed. Christmas is in name only.
After the fore play, when we are laughing at the strangeness and silliness of it all, but still disturbed with what is lacking - like Mom, table manners, and any real communication amongst the men - we get that something is really not right with one of the brothers, and Young Jean Lee has each of the others trying to fix him or explain it in their unique way. In doing so, themes of masculinity, socially advantaged privilege, not succeeding in life and what constitutes a good life are all explored. The saddest thing for me, though, was I saw a play about depression - what it's like to have it, and how people react to it, especially people who have no idea of what it feels like.
Director Nescha Jelk infused the production with plenty of energy and drive, and helped create distinct stereotypes with the players. The show began with a lengthy welcome to country by assistant director and stagehand-in-charge Alexis West - it is NAIDOC Week after all. Her ostentatious flare in resetting props for each act slowed things down, and her contribution to the production was confusing.
The Young Jean Lee Theatre Company's goal "is to find ways to get past our audience's defenses against uncomfortable subjects and open people up to confronting difficult questions by keeping them disoriented and laughing." Mission accomplished.
David Grybowski
When: 1 to 23 July
Where: Space Theatre
Bookings: bass.net.au
Adelaide Repertory Theatre. Arts Theatre. 25 June 2016
Cat On A Hot Tin Roof, they say, was Tennessee Williams's favourite creation, and for it he won the Pulitzer Prize For Drama in 1955. He wrote The Glass Menagerie and A Streetcar Named Desire in the decade before, so he had some good practice. Like these plays, and amongst the most famous by his contemporary, Arthur Miller - Death Of A Salesman, and All My Sons - the playwrights force family members to confront a heap of issues in a short period of time, making for excruciating tension.
Set in a sweltering Southern mansion near the banks of the Mississippi, patriarch Big Daddy's two sons and their families gather for his 65th birthday. Amongst his presents, but hidden from him and Big Mama, is a terminal cancer diagnosis. While the kids are feuding over the legacy, favourite son, Brick, and wife Maggie struggle with life after Skipper, an unseen character in this drama with whom Brick denies having a homosexual relation. Big Daddy and Brick have a lengthy heart-to-heart. The play is a huge challenge to actors given the raw emotions generated by crass denigration and emotional surprise that must be sustained through lengthy dialogues, some of which apparently were pared back.
Southern hospitality abounds in the delightful bedroom of Brick and Maggie imagined by set designer and director Barry Hill. You can feel the oppressive heat only relieved by slight breezes through the French doors opening onto the balcony. Maggie is frustrated by Brick's rejection of her sexuality and is like a cat on a hot tin roof, and the success of any production largely, and certainly early in the piece, depends on achieving a near unbearable sense of sexual frustration through unrequited desire. Anita Pipprell and Director Hill didn't quite have the train pull into the station on that one. Brick, as Joshua Coldwell played him, was an impenetrable brick. While Coldwell looked every inch the ex-footballer, Brick's scowl and sullenness was unbroken from curtain rise to fall, even after downing most of a bottle of bourbon. A more difficult role is that of Big Mama, whose ceaseless excoriation by Big Daddy ought to generate waves of sympathy, but Jude Brennan was not able to lead us there. Russell Starke's Big Daddy commanded the stage as he provided a master class in the actor's tools of voice, bearing and gesture, showing, for example, that a flick of the hand could be as effectively dismissive as a slurry of words, once the characterisation has been firmly established. But that was not enough - this production largely unfulfilled the promise of the play.
David Grybowski
When: 23 Jun to 2 Jul
Where: Arts Theatre
Bookings: www.adelaiderep.com
Adelaide Cabaret Festival. Festival Theatre. 25 Jun 2016
The first Cabaret Festival for Artistic Director’s Ali McGregor and Eddie Perfect closed in fine form with some lovely performances & covers of Australian songs by Festival artists.
The evening opens with a sultry and rousing performance of Can’t Get You Out Of My Head originally recorded by Kylie Minogue for her 2001 album Fever. McGregor oozes over the lyric with back up from Perfect and galah-esque dance provided by the cast of The Birds.
McGregor is clad in a shimmering outfit, reminiscent of the colours of a galah, whilst Perfect leaves nothing to the imagination in his singlet and stubbies; dressing his outfit up with the later addition of a white tux suit jacket.
Kate Ceberano and renown pianist Paul Grabowsky pair up for the second song of the evening. Ceberano wears a beautiful black evening gown and glows as she sings a gorgeous cover of the Divinyls’ I Touch Myself, a song she performed for breast cancer awareness; “I don’t want anybody else / When I think I about you I touch myself / I love myself, I want you to love me”. Ceberano continues to demonstrate why she is one of Australia’s greatest singers and performers.
Adelaide’s own Deborah Krizac takes to the stage next with a sweet rendition of Olivia Newton-John’s 1974 hit I Honestly Love You, ably backed by the onstage band for the evening ‘The Budgie Smugglers’ lead by Vanessa Scammell.
Writer of Keating! The Musical, Casey Bennetto is up next with a hilarious rendition of his own creation titled Show, Don’t Tell; “But if life were just a cabaret extended / Then what would be the point of cabaret? / The day is where our efforts are expended / The night is for escaping from the day..” a perfectly apt song choice for the evening.
Next into the fray is Australian, Carla Lippis backed by the Class of Cabaret Graduates spinning a sexy rhythm around Australian alternative rock band The Church’s Under The Milky Way. The Graduates - Naomi Crosby, Benji Riggs, Mellie Tantalos, Harry Nguyen and Jemma Allen – groove along with Lippis, creating delicious harmonies and rhythmic support.
The comedy lifts with McGregor’s return to the stage as she tells an amusing story of the best and worst cover songs of all time. The winner was of course, a cover of Leonard Cohen’s Halleluja by Jeff Buckley, but the loser is where McGregor sought to make amends - Celine Dion and Anastacia’s duet of the AC DC hit You Shook Me All Night Long.
Shunning The Budgie Smugglers, McGregor pulls out a Suzuki Omnichord from the 80s and takes back the AC DC hit singlehandedly, providing her own backing as well as the soaring lyric. She truly is a spectacular performer, even lending some seriously high pitched opera squeals to the number!
Host of the second week of the Backstage Club and Class of Cabaret mentor Libby O’Donovan takes to the piano next and tells a heart rending story about how music has the power to awaken memories from the darkest depths of patients with advanced dementia.
She goes on to sing a beautiful number titled Songs Remember Me; “I still know all the words to Danny Boy / And all at once I know just who I am / When they play Amazing Grace I am a young girl once again / In the church hall in my mother’s loving hand / Once again my yesterdays have clarity / Songs remember me…”. It is a wonderfully moving piece.
Dash Kruck returns the smiles to our faces with a politically reimagined version of John Paul Young’s Love Is In The Air with the lyrics changed to “The election's in the air”. The audience lap up both the energy and the humour, grooving in their seats and singing along. His performance manages to bring supporters from both camps together – particularly “those who believe in climate change, and those who don’t understand science!”
Australian singer and actress Naomi Price is up next with John Farnham’s Burn For You from the 90s album Chain Reaction. This Australian icon is always touching, and Price’s rendition is no exception; her voice has gorgeous timbre that sits beautifully on the lyric.
Eddie Perfect sits his lily-white legs at the grand piano with a rendition of best friend Casey Bennetto’s song about the well-known Aussie landmark, the Big Banana; Tom Burlinson – aka The Man from Snowy River – croons his way through the 1981 Billy Field hit, Bad Habits with a sexy sax solo in the break; and Yana Alana sets off into an Italian Aria before swiftly changing direction and ripping into Russell Morris’s The Real Thing clad in all the colours of the rainbow.
Sven Ratzke absolutely steals the stage, opening with a bit of stand-up about his stay in Adelaide that really gets the audience going before launching into David Bowie’s Lets Dance. But before you decry “that’s not an Aussie song”, McGregor joins Ratzke for a duet, overlaying a tribal harmonisation of Yothu Yindi’s Treaty, beautifully layered with the sounds of live didgeridoo from The Budgie Smugglers.
As the end of the evening approaches, McGregor and Perfect give a spoken tribute to Tim Minchin (who sadly couldn’t be present to perform), and announce that Matilda the Musical will be coming to Adelaide for an 8 week season as part of their 2017 Adelaide Cabaret Festival. With that, James Millar – currently performing as part of the Melbourne Matilda cast – takes the stage with When I Grow Up.
Fittingly the 2016 Adelaide Cabaret Festival Last Galah closes with a performance of Paul Kelly’s From Little Things Big Things Grow, with verses shared by each of the evening performers, before a rousing finish with the entire cast and backstage crew.
The Last Galah is a stylish and generous way to close The Adelaide Cabaret Festival, and gave many of the second week performers a chance to share their talents with Adelaide audiences in a collaborative event. Let’s hope the idea is reprised in years to come.
Paul Rodda
When: 25 Jun
Where: Festival Theatre
Bookings: Closed