Bunbury Productions. Dunstan Playhouse. 1 Feb 2023
With Mono – A Three-Person One-Man Show, the not-so-long-in-years playwright and writer, Angus FitzSimons, has reprised his comical concerns for the gracefully and disgracefully aging clinging to their power that were evident in his 2019 hit, Senior Moments: The Complete Guide on How to Be Senior. And in case you missed Senior Moments…, you can buy the book! The productions also have in common two of Australia’s treasured acting assets: Max Gillies and John Wood. And in Mono, they are accompanied by the irrepressible Emily Taheny of current Mad as Hell fame.
I’ll start with the program because it was the funniest thing in the production. Bravo! Angus FitzSimons’ program reads and resembles a senior’s glossy magazine and, seniors! It was available at no extra charge! It’s crammed with loopy photos, fake reviews, Q&As, riddles, trivia tests, dubious information and useless advice. What a hoot! For example: “Q: What does F.A.Q. stand for? A: F.A.Q.’d if I know.”
As a comic vehicle, the show was more of a zimmer frame than a 280Z. The trio trot out in turn to do their shtick on a bare stage in front of a lectern, one at a time, often with notes. The skit characters vary from schoolmarm to conductor to a cutting vengeful speech from the mother of the bride. All had direct appeal and audience engagement and wonderfully developed characterisations. Emily Taheny seemed the brightest – might have been her costumes and hair changes – but more likely her refreshing emergence from the angry anarchy of absurdity conveyed by the Mad as Hell characters. John Wood fits into his policeman’s role from his long Blue Heelers engagement, reading out a whacky chain of evidence from the witness box, but even he could not save the auctioneer skit from tedium. Max Gillies is clearly the elder statesman and his facial gestures and body language speak volumes and still command the attention that they always have, especially where words aren’t spoken. His pathetic bumbling priest was heaven.
But Mono could also mean mono-tonous. All the skits were of the same pace as if an imaginary handbrake was on, and all themed of seniors lost or out of touch. There was no scene-setting music or visuals. And imagine having three of Australia’s great and proven talents on the same stage and not uttering a single word to each other? But this is an established and time-tested format. Of course, comedy wasn’t the only goal - poignancy and empathy was rife. How about Max’s character at the art gallery mistaking the fire protection gear on the wall for the artwork? That had it all, as did most of the expertly rendered writing.
A night of quiet chuckles and heart-warming reflections on what it’s like to be sagacious yet sidelined.
David Grybowski
When: 1 to 5 Feb
Where: Dunstan Playhouse
Bookings: ticketek.com.au
Access2Arts. True Ability. Around Adelaide. 21 Jan 2023
Whenever one hears the name of Alirio Zavarce, one knows something special is happening.
For Fringe 2023, he is hooked up with the talented Kelly Vincent and a new group, the True Ability Ensemble.
It consists of very able deaf and disabled artists and, with dramaturgy by Vincent and direction by Zavarce, they’ve gone high tech all over the Adelaide cityscape.
They have injected new life and fresh imagery to old landmarks. It’s a terrific venture, charming, enlightening and clever.
It’s all about QR codes.
And people.
Scan the codes to discover the people. They will come to video life onscreen on your phone - right there and then - to tell their stories of special places.
Hannah really warms the cockles of the old bibliophile heart. She’s enamoured of the Adelaide City Library. It’s “her” place in the city. She’s as avid as avid readers can be and she sparkles with love for books and the niches in which readers can find literary nourishment.
Then there’s Kym. He’s well known as an actor and, surprise, surprise, the Festival Centre is his special place. He loves it because it is rich in memories of performance and there are some snatches of him actually doing that thing. Lovely footage. Stunning lighting.
Talking of good footage, one can’t go past James, the juggler mirrored in the Malls Balls, his special spot.
Lucy’s enthusiasm for the Myer Centre, the city Christmas tree and the bright world of retail is positively infectious. No wonder she is such a fashion plate.
Deeply personal and revelatory is Ad’m whose special place is Hindmarsh Square. We experience it from his wheelchair. He tells of when he found out about his neurological impairment, what a lonely place was life in “the closet” and the joy of finding others who relate to this.
The divine Kelly Vincent also sees the world from a wheelchair but the world she shows us is Parliament House where she had an outstanding political career for some years. It is not politics she focuses on in this city videos series, it is the land of the heart. It’s a wonderful story.
There are more, of course. There is Justine in Hindley Street, wonderful Rachel with the Rundle St Escalator which we all miss, plus Michelle with elephant memories at the Zoo.
There is no other show like this one. It is right off the wall and out on the streets and yet in the comfort and privacy of the mobile phone. It is nostalgic and now. It is touching and fun.
There’s a Google map so one can scan the codes, visit the places and see the faces - and get your steps up as well.
Bravo Alirio, Kelly and the ensemble! Love it.
Samela Harris
From January 13 onwards
More info: trueability.org.au
Hew Parham. Brink Productions. Space Theatre. 17 Jan 2023
‘The Symphony of the Bicycle’ is in some ways Hew Parham’s one man tribute to the Italian cycle racer Gino Bartoli, but it is much more than that.
Context.
Opening night for this theatre show was scheduled midweek during the Tour Downunder, so you can assume the full house was partisan, on board and understanding. Parham reveals an understanding of the life and times of Bartoli (known as ‘the Pious’ for his faith and dedication) and as an Italian champion who gave his efforts for Italy, and was lauded in his own country yet perhaps not so highly rated elsewhere, even though he won the Tour de France.
Clearly Parham is a fan of cycling and of Bartoli in particular, but two points need be made: Fausto Coppi is better known and the better cyclist, though Bartoli had a peasant’s heroic back-story. His career was halted by the Second World War, and many years later it was discovered that Bartoli had kept cycling on training rides through the war years as cover for his activities saving Jews from the Nazi’s as he rode across northern Italy with documents secreted within his bike frame.
In telling the story of his hero worship, Parham introduces other characters into the performance narrative, and it on this point things seem to become a little hazy for me. If there is to be a hero it is usual that there be an anti-hero, and this role is filled by the unlikable fitness guru Gavin Chestnutt. In his attempt to become a cyclist of note Parham also butts heads with a childhood friend (perhaps not a friend), the boofheaded athlete Jake Johnson, who steals the girl and becomes a cycling champion. We do therefore have in these protagonists the foils to Parham’s success, but herein lies my confusion.
I am not sure whether Parham’s story here is about achievement or conquest. Whether ‘tis better to suffer for one’s great triumphs (sporting glory in this narrative) or to pursue the goal of being a better person? Bartoli himself was beset by doubts and anxiety, and in many ways I felt the telling of the story Symphonie de la Bicyclette would be much strengthened by simplicity.
The performance by the way was excellent; Parham is accomplished and organised in his character reveal. An accent is adjusted, the timing is altered slightly and he, at times, overplays his hand and tips in pathos. It is an excellent performance but my mind had wandered as I contemplated the provenance of the only major prop on stage, a gleaming gold bicycle on an indoor training stand. I later discovered many other cyclists in the audience had similarly wandered in their thoughts, but by the end of the show I felt I knew little more than I had discovered by around about minute 20 (I shall not give away the ending because it seemed a little anticlimactic, in any case).
“I was so busy trying to be someone else I forgot to be me,” Parham says at one point. It seems a perfectly apposite reflection.
Alex Wheaton
When: Closed
Where: Space Theatre
Bookings: Closed
Red Phoenix Theatre. Holden Street Theatres. 12 Jan 23
The gift that Covid gave.
It was devised as a way to engage the city’s theatre people while audience numbers were limited to just 30. A Promenade of Shorts was the 2020 canny solution - three audiences of 30 people each changing places in three proximate venues. It could only work at Holden Street. It did work. The first production was a triumph and now, reiterated as Red Phoenix’s opening presentation of 2023, it is a sizzling, unmissable, often hilarious winner.
Nine short plays are spread through the evening with two pleasant intervals. Chairs and tables are spread out around the venue and a fabulous outdoor bar keeps endless options of libations flowing to the accompaniment of live musicians. It is a world unto itself and a positively juicy night of entertainment.
The plays are offbeat, wildly dissimilar and superbly performed by a veritable showcase of stellar talent.
Colour-coded to the blue group, my first shows are in the Box Bar and the first wee play set a very high bar indeed.
It is The Last Time I Saw Her, written by Jane Anderson in 1995, directed expertly by Joh Hartog and featuring Lyn Wilson and Geoff Revell in an intense, often viciously funny dispute between a boss and an executive about privacy and when is sharing over-sharing. Wilson is good. Revell is sublime. Every nuance! Every responsive flutter of an eyelid. He’s one of the city's finest actors, a joy to watch and a very hard act to follow.
Emily Branford is she who follows with a classic Joyce Grenfell vignette. She plays a harried primary teacher trying to impress a visitor while keeping control over an unruly Free Activity Period. It’s a wee bravura piece well executed. Finally, A Hot Brick requires Petra Schulenberg to stand sternly as a seasoned suffragette while young Finty McBain portrays the ingenuous keen bean would-be apprentice. It’s a nice piece of story-telling, again, well delivered.
After interval, audiences move venues and the blue group is off to the Studio for the next tranche of plays, the first two directed by the much-admired Nick Fagan and the third with Fagan performing as directed by Hayley Horton. The Processional is a totally off-the-wall playlet about a pastor rehearsing a wedding. With Jackson Barnard, Laura Antoniazzi, Tom Tassone and Brittany Gallasch as the wedding party, it soars as pièce de résistance for Rebecca Kemp as the pastor. Applause. Applause.
Confession is a tense police interrogation morsel with Stuart Pearce in a fine American accent as the suspect, displaying the skills of stillness against the ferocity of John Rosen’s detective and Joanne St Clair’s inexperienced stenographer.
The Chip comes as a zany contrast with Nick Fagan as the nice bloke, Vander, looking for a follow-up date with Rebissa, an artist. Here, Fagan takes an artful back seat enabling Claire Keen to give a sensationally interesting, funny, and committed performance - and, oh, the beauty of that actress’s voice.
Finally, after another easy interval, our blue group is moved, under the steady guidance of our “governess”, to The Arch for three more mini shows, these directed by Libby Drake who, indeed, is responsible for the casting throughout.
Captain Rockets Versus the Inter-Galactic Brain Eaters is a very silly yet quite pertinent piece about conspiracy and reality, media, and the message. Pin-up actor Brant Eustice is a funny and scary Captain Rockets but it is Cheryl Douglas who steals the show as his TV-show offsider, Luna, miming her way through attempted cover-ups of his ever-more inappropriate and outrageous hypotheses, she’s hilarious.
Breakout, of course another off-the-waller, this one about corporate integrity, is yet another chance for Sharon Malujlo to shine in a cast of five while at the tail end of it all, Jack Robins and Jenny Allan present a tender morsel called Brian’s Got Talent.
It is enough. The audience has been challenged, amused and impressed. It is an eloquent sufficiency.
The Eustice Red Phoenix and Holden Street team has delivered a laudable quality product, complete with top techs, musicians, artwork, and all-round delicious creativity.
What a Happy New Year offering.
Samela Harris
When: 12 to 21 Jan
Where: Holden Street Theatres
Bookings: holdenstreettheatres.com
John Frost for Crossroads Live. Her Majesty’s Theatre. 3 Jan 2022
In what is rather a coup for South Australian, and indeed Australian audiences the 70th anniversary of the world’s longest running play sees it performed professionally outside of London’s West End for the first time!
Although not the first production on Australian shores (Therry Theatre – then Therry Dramatic Society – mounted a production at Adelaide’s Arts Theatre in 2011, amongst others), it will be the first professional touring production and with an all Australian cast.
The appeal is easy to spot. Forget your woes and leave your troubles at the door. The delightfully simple and altogether too predictable characters of Agatha Christie’s play are sure to entertain. Think you know who did it? Spot the obvious set up? The twists have twists of their own and even if you see one of them coming you are unlikely to spot the next.
Of course audiences are also required to maintain the mystery, so you won’t find any clues here – suffice to say it not one of the servants, there aren’t any!
The assembled cast including Anna O’Byrne, Alex Rathgeber, Laurence Boxhall, Geraldine Turner, Adam Murphy, Charlotte Friels, Gerry Connolly, and Tom Conroy are simply splendid. All of the characters are larger than life and yet representation seems remarkably ahead of its time. Penned in the early 1950s it manages subtle references to class, politics and socialism, homosexuality, bullying, conscription, and the enduring effects of trauma. Not what one might expect from a crime fiction bordering on farce.
The eccentric 19th century English interior stylings of the box set by Isabel Hudson are deliciously pleasing. With crackling embers in the hearth and a light fall of snow beyond the stained glass windows, the many doors make for some delightful fun with all the coming and going of characters. The beautiful set and wonderful costumes – including no less than 6 dark overcoats, light scarves, and soft felt hats – is sensitively lit by Trudy Dalgleish’s warm and enriching lighting design.
As hosts and housekeepers Mollie and Giles Ralston, O’Byrne and Rathgeber are suitably naïve. O’Byrne gets to show off her acting chops in the third act when details of her past come to bear, and Rathgeber is every bit her jealous and protective husband. Prudish guest Mrs Boyle, played by Turner is absolutely caustic in her belligerence and has audience members cheering her demise, while Murphy’s Major Metcalf is all austerity and gentlemanly propriety. Charlotte Friels’ burgeoning feminist Miss Casewell is strangely intense yet peculiarly circumspect and Connolly’s Paravicini suitably flamboyant with an undercurrent of suspicion and intrigue. Tom Conroy’s Sergeant Trotter provides the perfect level of inquiry with some beautifully executed character work at the denouement. But it is Boxhall’s Christopher Wren that quite rightly steals the show with his overflowing neuroticism, strange sense of humour, and crazy mop of unkempt hair. All of this action perfectly paced by Director Robyn Nevin.
Really The Mousetrap is a play for everyone. And perhaps that goes someway to explaining the long term success of the production. There is much to be enjoyed on stage at Her Majesty’s Theatre; you’d have to be one of three blind mice not to!
Paul Rodda
When: 31 Dec 22 to 15 Jan 23
Where: Her Majesty’s Theatre
Bookings: ticketek.com.au
Continuing: Comedy Theatre Melbourne, 17 Feb to 26 Mar