Motus Collective. Space Theatre. 3 Oct 2024
Motus Collective’s spellbinding dance work, The Leftovers, combines passionate, highly skilled and finely wrought contemporary dance with an enigmatic sculptural installation.
As the audience enters, four performers are already moving about, slowly, as if in a latent state. The performance space, a white floor, is set out as a long rectangle, with the audience on either side, as if observing the action in a narrow arena. There are two white plaster, human-like statues at one end of this space — a very tall figure with elongated arms and a blob-like figure with three hands cupped in supplication. A third figure at the other end lies on its back with legs vertical.
The dancers — Felicity Boyd, Tayla Hoadley, Sophie Hollingworth and Isobel Stolinski — are clad in white, with whitened hair and skin, as if they are statues brought to life. Above the performance space are dozens of disembodied, white plaster hands and feet suspended in rows to demarcate the performance space’s third dimension and outline the universe within which the action takes place.
As the performance begins, a guttural, distorted voice from above delivers a long reflective statement beginning with, “Where did you go and why did you leave?”, suggesting the absence of a person who was close. Alix Kuijpers’s gripping electronic soundtrack creates the feel of an epic sci-fi narrative and Kobe Donaldson’s lighting varies from intensely bright white light to forbiddingly dim light and there are occasional stroboscopic effects. The overall design creates a highly charged atmosphere.
As the performance progresses, the four dancers move about as if encountering themselves, the space, each other and, ultimately, the statues. At times the dance is agitated, chaotic, as if the dancers are undergoing a turbulent transformation. Sometimes the dancers form pairs whose synchronised movements suggest fleeting relationships. Passages of movement are repeated as if the dancers are reengaging with themselves, all the while searching for something. Zoe Gay’s expressive choreography is mesmerising, as the dancers push the boundaries of human movement.
Motus Collective, The Leftovers, Image supplied
The statue of the tall figure is a central character in the drama, perhaps representing a god or a totem. At one point, a dancer perches on the shoulders of another dancer, raising her to the same height as the tall figure so as to confront it. The dancers sometimes lie on their backs on the floor with legs raised as if mimicking the statue of the supine figure.
In the final moments of the performance, a stream of white liquid trickles down from between the suspended plaster hands and feet onto one of the dancers, as if this individual is being remade from the primal substance from which all life is created.
The statues also recall the plaster casts of bodies retrieved from the ruins of Pompei, but they are distorted, with misshapen bodies and elongated limbs as if they are caricatures. They were made by visual artist Nick Hanisch four years ago as independent artworks, and evidently they inspired the creation of The Leftovers and were incorporated into Hanisch’s design for it. He states, “The sculptures for The Leftovers were created while contemplating the exoskeletons left behind by our past selves.”
In the program note, the Motus Collective directors, Felicity Boyd and Zoe Gay, reveal that the theme of the performance is the question of what makes us who or what we are. They remind us that the cells in the human body are replaced every seven years, cyclically re-creating our bodies. This biological re-creation becomes a metaphor for the re-creation or evolution of our selves. And yet we do not notice this perpetual evolutionary and rediscovery process.
The Leftovers is an engrossing dance-work, and the performances and the production are outstanding. Most of all, The Leftovers invites us to reflect on who we are: if our physical bodies do not define us, then what does? And what is the nature of the choreography of life that we must learn in order to navigate our universe?
Chris Reid
When: 3 to 5 October
Where: Space Theatre
Bookings: Closed
Motus Collective, The Leftovers, Image supplied
John Frost for Crossroads Live Australia. Her Majesty’s Theatre. 3 Oct 2024
The original production of this ‘50s themed rock & roll musical in Chicago in 1971 was apparently quite raunchy and vulgar. Grease was nominated for a great number of Tony awards for its Broadway productions - but never a winner. Yet, it is often reprised because nostalgia is a lot of fun and the songs are catchy. Grease Is The Word is an anthem of being authentic. It was written by Barry Gibb for the hugely successful movie of 1978. Teenagers love it. “Was there really bullying back then? Even without mobile phones?” And their parents love it. “That Danny Zuko is still so cool.”
Director Luke Joslin has created an all-Australian supercharged production of such intensity your ears and eyes and everything in between might explode. James Browne’s costumes are cartoonishly chromatic, and his wigs look like they were sculptured by strong winds. Trudy Dalgleish’s lighting plot is a practice run for the opening ceremonies of the 2032 Olympic Games in Brisbane. Michael Waters’s sound design is equally sensorily assaulting.
Madeleine Mackenzie’s hyperkenetic choreography mixes genres with gusto and competed with the Rydell bleachers for perpetual motion. It is often difficult to know where to look. I didn’t notice if Jay Laga’aia’s Vince Fontaine was sufficiently lascivious. Greased Lightnin’ was fueled with a bevy of what looked like helmeted go-cart drivers. The drawback is that intimacy suffers. Freddy My Love loses its sweetness smothered by a Victoria Secret parade. Paulini’s Teen Angel is accompanied by a whole host of angels. What ought to be a reflective lecture from one’s higher self turns into a Southern Baptist Revival meeting. However, Mackenzie Dunn’s overly dour Rizzo belts out There Are Worse Things I Could Do in one of the show’s few intimacies.
Musical director Kohan Van Sambeeck’s score was more oversaxed on some songs than even Rizzo, but the new arrangements augmented good old rock and roll wonderfully.
Director Joslin continues the film invention of having Sandy hail from Australia. In between Summer Nights and You’re The One That I Want is the love story. Fabian Andrés’ and Annelise Hall’s Danny and Sandy pirouette in and out of each other’s hearts until the dominatrix scene of You’re The One That I Want. They make these scenes and songs ooze with longing and lust respectively.
Did all the pyrotechnics that Joslin loads into his Grease make it better? The standing ovation on opening night and the curtain call cum dance party seemed to say so. The technical firepower available to directors nowadays can overpower the intimacy and authenticity of the teenage angst so replete in Grease’s book and lyrics. Importantly, Grease is the words.
P.S. The late, great Adelaide theatre empressario, Matt Byrne, was once on the radio giving away tickets to his local production of Grease, and an older woman on the phone screamed in broken English, “Greece! Greece! I’ve won tickets to Greece!” When the phone was passed to a younger voice, she said, “Wow, this is amazing. When do we go?” and Matt said next week. The daughter said they couldn’t possibly go; could we go in two months? And Matt said “No, the production would be over by then”. And then it dawned on everybody what was going on.
David Grybowski
When: 28 Sep to 26 Oct
Where: Her Majesty’s Theatre
Bookings: ticketek.com.au
Elder Conservatorium Music Theatre. Scott Theatre. 27 Sep 2024
The Elder Conservatorium Music Theatre’s (ECMT) production of Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar is ninety non-stop minutes of high-energy and high-impact musical, choreographic, visual and vocal extravagance. ‘JC’ is now over fifty years old, and there aren’t too many people who haven’t seen a production of it or haven’t heard the soundtrack, and of course the story of the last seven days in the life of Jesus of Nazareth is very familiar.
However, every time JC is remounted there are new surprises in its look and feel. This production is no different in that regard. More on that later. Lloyd Webber’s music is timeless it seems, and Rice’s lyrics still have as much impact as they did when they were first sung. ECMT’s production has very strong production values and some fresh ways of presenting the story, and the audience’s enjoyment soars high on a wave that never seems to break!
No production, whether it is a student, community, or professional production, is ever perfect. That’s the stuff of live theatre, and this production isn’t faultless either. There are some opening night jitters with the occasional mis-pitched note and mis-timed entry, but they are barely noticeable, and they matter very little. This production is as good as any other that has been mounted in Adelaide in recent times. There is much to admire, and the vigour of ECMT’s production draws you in from the very start and doesn’t release you until it’s over, but even then, one’s visual and aural memory refuses to let it go completely!
Superbly directed by George Torbay AM, ECMT’s production has big moments that wow you. At the very start, the principal cast physically emerge one by one from the centre of a singing and dancing crowd, as if being born and announced to the world for the first time. We see Judas, Peter, other disciples, and finally Jesus who is greeted with unbridled ecstasy. It’s like a mosh pit, with pop stars being greeted by fans who have whipped themselves into an adoring frenzy. It's visually impressive, and the audience’s adrenalin is pumping.
Simon Greer’s set design comprises a three-tiered shiny scaffold, which the cast access quickly and efficiently via connecting stairs. It has a Roman Colosseum feel about it, which is exemplified with long hanging crimson banners emblazoned with the roman eagle and SPQR initials (which refers to the people and government of the Roman Republic). When the Sanhedrin take to the stage, they are dressed in militaristic styled uniforms that give them a totally menacing look. For a moment, it feels like we are in WWII fascist Italy, and when Caiaphas (played and sung superbly by Kaemon Wilcox) takes to the stage and sings the words “Ah, gentlemen, you know why we are here” in deep gravelly tones, the audience’s blood runs cold, and a shiver runs up and down our collective spine. Darcy Wain in the role of Annas adds ominously to the impact. Chris Snape’s bright, colourful, snappy and empathetic lighting design runs red – the symbolism and sense of foreboding is palpable.
The stage quickly empties of cast when needed and allows fluency from one scene to another. Pilate’s Dream introduces Pontius Pilate to the stage and Sascha Debney-Matiszik beautifully sings and acts the role with steely composure and style. Dressed in a long roman skirt, a strapped chest harness and laced sandals, with a large roman eagle emblem tattooed across his strong bare chest, Debney-Matiszik looks the part. He is impressive.
The Romans and the Sanhedrin are the only cast members (almost, there is a surprise later) to wear ‘character costumes’. Almost everyone else wears ‘civvies’. The costume plot works very well indeed.
The role of Judas is fundamentally important to the musical, and it must be sung strongly and acted with expressive passion. In Ben Jones, ECMT’s production is blessed with an imposing Judas. Jones is smaller in stature than Oliver John, who impressively plays Jesus, but he plays the role with such bravura that their force of personalities seem equal. Jones’ delivery of Damned for all Time is quite stunning. One senses that he truly understands the text he sings, which in fact is a feature across the entire cast.
Similarly, Alanna Iannace as Mary Magdalene also sings with acute understanding. Her touching performances of Everything’s Alright and especially I Don’t’ Know How To Love Him allow us to clearly see Christ’s humanity and frailty.
The staging of the scene where Judas is paid thirty pieces of silver by the Sanhedrin to betray Jesus is another highlight of the production. Instead of physical coinage, Judas places his hands in a small money chest and when he removes them, they are coated in an eery liquid which is almost fluoresce in the wonderful lighting. His hands are highlighted by piercing beams of light that persist for some time. The symbolism is obvious and palpable, and the impact is unsettling. Later, the staging of Judas’ death is also different. No spoiler, but it is staged in a way to suggest that it is as much an execution as it is a suicide, and again, the impact on the audience is intense. We ponder the fact that so many people are sacrificed as unwitting pawns in wider struggles over which they have little control. In these scenes, Ben Jones demonstrated his emerging yet impressive skills as a dramatic actor and singer. When not in the limelight, he’s still in the limelight – he continues to demand attention and his off-dialogue work (body language, facial expression, reactions, close attention etc) is just terrific.
The Last Supper scene is also staged in a memorable way. At one point, Christ and his apostles very quickly form a tableau that attempts to recreate the positioning in Da Vinci’s famous painting. A nice touch – a very brief injection of humour that doesn’t diminish the pathos one jot. Following the supper, Christ retreats to the Garden of Gethsemane, and Oliver John’s performance of Gethsemane is beautiful. He has a wonderful voice and manages the upper register with confidence, clarity and strength. His performance is almost understated, which gives a strong sense of Christ’s purpose and mission, yet fear.
Liam Dundon plays King Herod, and director Torbay and choreographers Zoe Kaomazec and Alexander Kermond have Dundon dressed in black tails replete with top hat and cane as he delivers a Fred Astaire inspired tap routine while singing King Herod’s Song. It’s fun, and the bevy of blond bombshells (as if straight out of an old Hollywood musical of yesteryear) cap off the irreverence. The strong cast of named characters is rounded out with a solid performance from Brendan Tomlins as Peter.
The staging of Christ’s scourging at the command of Pilate is also impressive. Again, no spoiler, but instead of a whip, Christ’s tormenters lash him with streams of bloody liquid. Oliver John as Christ does very well to convincingly play someone in extreme pain and distress while Pilate counts the lashes as the baying crowd cheers on. The crucifixion scene is equally affective, with Christ tied to a section of the scaffold set which is then carefully illuminated to create the illusion of the upright wooden beam and transom that form the traditional ‘cruciform’ structure. It’s lump-in-the-throat stuff.
Musically, the production is excellent, as one would expect from a production by the prestigious Elder Conservatorium. Musical director Paul Sinkinson’s ten-strong ensemble is on the ball from beginning to end. The show demands a big electronic sound, and this is delivered in spades by the keyboards. Brava! The score’s rhythms are unforgiving, and the drums and percussion clearly articulate and scaffold the score for the cast to perform against. Musically, this is one of the strongest outfits to be heard recently in Adelaide theatre.
The choreography is exciting, up tempo, and for the most part tightly synchronised to the spiky rhythms and varying tempi of the score. Did I say exciting?
The chorus is tuneful and well-rehearsed in ensemble work. To a person, their ability to faithfully execute song and dance with grace, precision, athleticism, diction and accuracy is a joy to watch and hear. At appropriate times, their smiles filled the already filled Scott Theatre. They are all double threats, if not triple! Kudos to ensemble vocal coach Rosanne Hosking.
The cast is large, and when they are all on stage in the big production numbers, there is scarcely an empty space. It’s a superb display of direction and stage management that it all works so well.
ECMT’s production of Jesus Christ Superstar has much to commend, and it is an absolute joy to see how the Elder Conservatorium is playing such a vital and important part in helping train Australia’s next generation of professional musical theatre performers.
ECMT’s next production is Alice By Heart to be presented in the Little Theatre on 10-13 October. It is a touching musical inspired by Alice’s madcap Adventures in Wonderland. If you have not yet seen Elder Conservatorium Music Theatre in operation, do yoursef a favour. Get along and see it.
Kym Clayton
When: 27 Sep
Where: Scott Theatre
Bookings: Closed
by Patrick White. Holden Street Theatres Inc. Holden Street Theatre Studio. 26 Sep 2024
When one leaves the theatre, Miss Docker comes too.
Miss Docker is one of theatre’s most complex and compelling anti-heroes.
She is arguably the greatest character in the greatest play by Australia’s Nobel Laureate writer, Patrick White.
And, while she was created out of the very Sydney-like, working-class culture of the 1950s in White’s fictitious Sarsaparilla, she’s a timeless personality - a suburban do-good monster. Perchance we all have met her ilk.
She also is a challenging stage role to be captured only by the finest of mid-life actresses.
Hence, the utter serendipity of having Martha Lott in this city.
We cannot celebrate her too much. We may dare to call her a “great” actress.
And, we have Peter Goers who seizes that greatness and casts her in those elite and memorable roles, among them, Tallulah Bankhead in Looped and Noel Coward’s Lady Gilpin. Now White’s Miss Docker.
And so it comes to pass that, laden with emotion and fermenting with thought, we audience members leave Holden Street yet again with the knowledge that we have experienced something exceptional.
This latest production of the uncommonly presented tragicomedy, A Cheery Soul, is a triumph. Five stars and then some.
And, on a shoestring budget, too.
Not that everyone can swiftly rave about it. It is not an easy play. It has more shades than its vivid walls of patchwork crochet granny rugs.
It opens as a nice local couple takes pity on Miss Docker and offers to take her in, only to realise that there is more to her than her facade of indefatigable good cheer. She’s a busybody who takes brazen liberties in the belief that it is always for the good of others. She’s the village clown, a status reflected in Lott’s quasi grotesque whiteface makeup. Her meddlesome nature eventually alienates her everywhere. Fellow inhabitants in an old-folks home shun her and, as for the hapless minister of the local church…
Martha Lott portrays not only the brash optimism but also, intensely poignantly, the so-carefully-suppressed vulnerability of Miss Docker. One's heart breaks for this despicable character. She’s ghastly and utterly compelling. It’s a tour de force performance.
Around her is a glorious cast. Catherine Campbell captures the essence of marital complacency as the well-intended Mrs Custance. Nuanced to a well-observed core, she's a symphony of smug suburbia. Brava. Robert Cuszena shows his seasoned stage skills in artfully complementing as her malleable spouse. Perched beneath a crochet rug on two chairs in a bedroom scene, they are the purest picture of a happy marriage.
While Sandi McMenamin brings the house down as the world-weary organist, she touches the heart as an old girl in the nursing home. David O’Brien makes a committed performance as a stroke victim and Amelia Lott-Watson has a delicious comic presence as the teenage Narelle. Christopher Cordeaux expressively adorns the stage as a useful extra as does dear Ron Hoenig.
David Arcidiaco is, oh, so winning as the self-doubting minister Mr Wakeman. There’s a lost soul in his eyes. While Jessica Corrie as the minister’s wife throws a cold balance of common sense into the dramas, it is Sue Wylie and Jo Coventry who brilliantly equip this Patrick White play with the essence of Patrick White. As residents of the old folks home, they perform as the chorus, their blended voices underscoring their, our, and Sarsaparilla's inner world. Their lines are a joy of pure White prose, prosaic and profound all at once. For, indeed, A Cheery Soul was not written as a piece of realistic theatre. It ventured into the absurd and the surreal, the symbolic and the banal.
Director Peter Goers shares his understanding of all of this in the detail and finesse embraced by this exceptional production. Patrick White would have cause to be proud.
Samela Harris
When: 26 Sep to 12 Oct
Where: Holden Street Theatres
Bookings: holdenstreettheatres.com
Disclaimer: Samela worked with Goers on his now lamentably lost Sunday radio arts show.
Theatre Republic. Space Theatre. 25 Sep 2024
When the girl was old enough to walk, she began to float, two or three inches above the ground, and then higher and higher until her head hit the ceiling and her mother had to buy an extra-extendable ladder just to bring her down. “You must keep it a secret,” the neighbours said, so the mother tied a piece of string from the girl’s hand to her own, and let down the bottom of every skirt, so no one could see the space between the shoes and the floor. One day, the mother forgot to lock the kitchen drawer, and the girl found a knife, a big knife, the best knife, for old bread and tough legs of ham, and she dragged it down her body, top to bottom, opening herself like a leather bag. She stepped out of her skin and kicked it away, where it hit the wall – splat! – and slithered to the ground. The mother tried to catch her daughter but there was nothing there to hold on to. “Look up, look up, look up,” the little girl said, and she flew around her mother, and did somersaults in the air, and walked along the clothesline, and made silly faces at the window, while the mother cried, and the skin turned to slush in her hands.
Anna
Anna is 18 years old and has officially reached the end of her childhood. This milestone is emotionally difficult for any child/adult, as it is for their parents and those who care for them. For Anna, the coming-of-age projects her headlong into a confusing, complex and ultimately painful outcome for all concerned.
Anna lives with a mental illness and has been medicated since the age of 11. At her coming of age, she discovers boxes of her journals in her mother’s wardrobe, written before her diagnosis. Struck by the remarkable stories she produced as a child, Anna tries to find her way back by going cold turkey on her medication. Is she still in there?
Kendall Feaver’s The Almighty Sometimes reaches a fist into the world of mental illness, twists and turns until it bleeds, patches it up, then makes it bleed again. Opening with the monologue ‘When the girl…’, written by an eight-year-old Anna, the opening scene finds Anna (Emily Liu) and Oliver (Simon Chandler) engaged in the age-old courtship ritual albeit in contemporary terms; I walked you home, now are we sleeping together? The intervention of Anna’s mother Renee (Tamara Lee) indicates their relationship – tight, and tightly held. Anna’s psychiatrist Vivienne (Anna Steen) is a wonderfully realised character, also holding firmly to her feelings, her professionalism, her private life and most importantly, to her decision to prescribe the cocktail of medications to a young Anna.
Anna’s exploration of life without drugs leads to an unravelling, and while the triangulated daughter, mother, psychiatrist relationship takes up the most space, the nascent romance between Anna and Oliver has its own echoes of agony and ecstasy.
Simon Chandler works his way into the character of Oliver with a charm that does not indicate what lies beneath, until the comedic gives way to the distraught. The trauma that Oliver feels, and his inability to continue is portrayed adroitly by Chandler.
Tamara Lee takes her time fleshing out Renee, but when she arrives, she is a force of nature as the mother with a surfeit of unconditional love and warrior strength. This is counterpointed by Anna Steen’s vaguely enigmatic portrayal of psychiatrist Vivienne, a study in restraint and poise.
It is Emily Liu as Anna who is riveting, appearing to traverse the incredible range of emotions effortlessly. With an illness that (cleverly) never reveals its name, she depicts a journey into mental illness, coupled with the confusion of the coming of age, with a sure hand.
Meg’s Wilson deceptively simple set is lit by Nic Mollison; between them they take us from kitchen to office to hospital with slight but skilfully effective shifts. Jason Sweeney’s soundscapes conveys us from scene to scene, mostly quite loudly, continuing to work in with the overarching simplicity that echoes the firm direction that Corey McMahon brings to this production.
This script is exceptional, and well deserving of the awards Kendall Feaver has garnered. This company has taken this absolute gift and presented it back to us in one of the more riveting productions of the year. A must see.
Arna Eyers-White
When: 25 to 28 Sep
Where: Space Theatre
Bookings: premier.ticketek.com.au