DreamBIG Children’s Festival. Odeon Theatre. 25 May 2019
Very rightly, Tutti revives this production for the Dream Big Festival. It has been a hit in its previous presentations and it is a hit again now. It is a very well-wrought and important show which brings the autism spectrum into clear and sharp relief.
Written by Emily Steel and performed by Company AT (Autistic Theatre) under the umbrella of Tutti, it tells of how a nine-year-old girl copes in an unsympathetic world of “normal” kids. They surround her with schoolyard labels and taunts, the school bully ever-ready to stick a knife in the vulnerable spots. The girl, who remains “Nameless”, has her own mass of knowledge that provides an amorphous defence. She’s passionate and encyclopaedic about astronomy. Her memory is phenomenal. Yet she wants to eat only chips and she has meltdowns in strange environments. She invents a feel-good friendship with an invisible Albert Einstein and Isaac Newton. Her parents know that she is different but, like the parents of so many autistic children, are riven between trying to see her as “normal” and accepting that she belongs on the “spectrum”.
Using shadowing actors to express the private thoughts of the parents, Steel has articulated this behind-the-scenes dilemma beautifully, embracing absolutely everyone. In the end of the day, most of us feel a bit “spectrumish” in a neuro-typical world. It’s a spectrum, after all, and the play’s talented cast, expertly directed by Julian Jaensch, all come from somewhere on that spectrum, delivering a snappy, clever, perspicacious piece of theatre which taps into the hearts and minds of young and old. And it is also entertaining and at times, funny. Long and far may it tour.
Samela Harris
When: 23 to 25 May
Where: Odeon Theatre
Bookings: Closed
Marie Clark Musical Theatre. The Arts Theatre. 24 May 2019
This production of Anything Goes is simply outstanding. Marie Clark Musical Theatre hits the high Cs in an exuberant, lively and flashy rendition of Cole Porter’s 1934 blockbuster musical comedy concerning the shenanigans on board a trans-Atlantic cruise ship. You’ll recognise most of the songs as some of music’s most famous: I Get A Kick Out Of You, You’re The Top, It’s De-Lovely, Blow, Gabriel, Blow and of course, Anything Goes – and be positively humming one of them whilst returning to your – no doubt – far less interesting life than the one on stage.
The production sets sail with lead Alana Shepherdson’s hot night club singer, Reno Sweeney, musing about her old pal and love desire, Billy Crocker, with I Get A Kick Out Of You. Throughout this production, Shepherdson is the epitome of the musical star – she has undeniable stage presence and flair with an attractive feminine and insouciant arc employed in her highly watchable dancing and singing. Bravo! Her vocal precision reaches its high-water mark later in the show.
Next, the rising curtain reveals the formidable foredeck of the SS American where we meet the strange parade of passengers as they board. Here Porter has fun parodying a cavalcade of miscreants and high society – a potent mix that gets blended into the plot, or plotting, such as it is. Young Wall Street wannabe Billy Crocker stows on board to win the hand of Hope Harcourt who is betrothed to Lord Evelyn Oakleigh – thus completing the double love triangle.
Director Michael Butler has the cast full steam ahead all the time, yet warp drive happens with astonishing regularity. Rosanna Commisso’s skilled choreography is hinted at in an early scene with sailors and brooms, but the big chorus numbers like the Act I finale and Blow, Gabriel, Blow in the second act are breathtaking. The deck of the American in these numbers is awash with swirling hoofers in a giddy blaze of colour and delight where time stands still but the dancers sure don’t. And leading these proceedings front and centre is the formidable Ms Shepherdson. These two large chorus dances are truly, stunningly accomplished. Bravo!
William Richards does a lovely love-struck Billy Crocker with empathy, a comic intent and sufficient voice. His duet in You’re The Top with Shepherdson’s Reno is a real treat – beautifully sung and choreographed, and joyful. Buddy Dawson is one of Adelaide’s finest musical comedy performers. He trowels on voice and physical mannerisms to satirise his gangster thug, Moonface Martin, with great success. Chris Bierton underplays his Lord Oakleigh, only to scatter his inhibitions to the winds in the third-last number of the show with a bizarre tango that is widely cheered by the audience. Bravo!
Costumes (Narelle Clark: cossie co-coordinator) are to die for, starting with Shepherdson’s two-tone gown in her opening number – indeed all her outfits fit for a queen. Bravo! Mike Phillips (lighting) often floods the stage in purples and pinks imparting a party time tint to the proceedings. Musical director Mark Stefanoff’s orchestra makes the night de-lovely and delightful, but might have benefited from another rehearsal.
A nostalgic troll through one's previous reviews of Marie Clark’ productions - Young Frankenstein, Spamalot, Calamity Jane and A Chorus Line – shows that Marie Clark is always a good bet to see stunning musical theatre.
Double bravo! A show not to be missed.
David Grybowski
When: 24 May to 1 Jun
Where: Arts Theatre
Bookings: trybooking.com
Red Phoenix Theatre and Holden Street Theatres. Holden Street Theatres. 23 May 2019
A-grade on his way to C-grade Hollywood action star Jefferson Steele is advised by his agent to arrest the skid with a working retreat in England. He is resigned but ready to tackle King Lear with the Royal Shakespeare Company in Stratford-upon-Avon – Kenneth Branagh and Judi Dench in tow. But there are many Stratfords in Britain, and – shock horror - his engagement is instead with the amateurs of the Stratford Players of Suffolk who have hired the star to save their theatre from demise.
British writers Ian Hislop and Nick Newman teamed up to write the movie in 2008. Burt Reynolds was miscast as Steele and the film flopped. They resurrected the script as a play in 2014 and wrote in some of Burt’s barbs from the production of the movie – a case of art imitating life imitating art. It’s a fish-out-of-water idea and the playwrights beautifully and repeatedly juxtapose American and British values, amateur and professional ethos, and British and American acting styles – the latter echoed in the play by quoting the apocryphal exchange between the classically trained British Olivier and the American method actor Dustin Hoffman where Laurence says, “Why don’t you just try acting?” The play weaves a windy road of humorous plot intrigue to ensure the unsurprising softening up of the brittle Steele isn’t straightforward. And throws in snippets of King Lear which reflect the drama in the rehearsal room.
There couldn’t be a finer bunch of amateurs than the Red Phoenix theatre company to stage this charming British comedy. One doesn’t think director Michael Eustice would have considered anyone other than his talented brother, Brant Eustice, as Steele. Brant employs the typically growly low tones of the American voiceover artist with the cadence and menace of Jack Nicholson to augment and enhance the delicious sarcasm of the stereotype delivered by Hislop and Newman. Bravo! The writers also capture the intrigue, pettiness, hopes and desires of small town English am-dram with considerable empathy, and the performances all rise equally to the occasion. Everyone shines, but it's Petra Schulenburg, in her key role of the director of the Lear and the main ego masseur of Steele, who simply oozes the constancy, confidence and charm of her character throughout the show. Lindsay Dunn, Tracey Walker and Derek Crawford all have star turns and Michael Eustice most successfully assigns to them larger-than-life and expressive personae.
Michael Eustice also sprinkles around the theatrical magic with gimmicks, special effects, props and designs that appear simple in execution but are actually quite challenging; lovely and surprising to see. Kate Prescott’s set is a wonder in function and presentation, and Richard Parkhill’s lighting adds focus, especially during the Lear scenes. Costumes (no credit) would not have been easy work and Nicholas Ely, as always, creates intriguing poster images that fetch the audience.
First night looked technically perfect and the outstanding performances will continue to jell together. Another Adelaide premiere success for Red Phoenix, and a very funny one, too.
David Grybowski
When: 23 May to 1 June
Where: Holden Street Theatres
Bookings: holdenstreettheatres.com
Adelaide University Theatre Guild. Little Theatre. 15 May 2019
Once again Megan Dansie brings to the austerity of the Little Theatre a well-rounded and absorbing evening’s entertainment, albeit it is not for everyone. Audiences are well warned that Don Juan in Soho is confronting and, indeed, it evokes a few gasps but the play, written by Patrick Marber with a nod to Moliere's Don Juan, is a farce with a tragicomic spirit, so shock is assuaged by contempt, pity, and laughter. It’s quite the roller coaster. Don Juan, here known as DJ, is a degenerate nobleman whose licentious exploits are enabled by his long-suffering servant, Stan.
Through the generations, Don Juan has been played by some of the world’s romantic heavyweights: Errol Flynn; John Barrymore; Johnny Depp; and most recently in the long-running London production of this play, by David Tennant. In this instance we have stalwart Adelaide character actor Peter Davies who is altogether more suave and handsome than he is sexy. It is a huge and complex role he has to fill, what with the nuances of high breeding, torrents of wonderfully perspicacious and provocative philosophising, drug-addled debauchery, and the desperate urges of satyriasis. He makes a good whack at it especially in the outrageous multitasking fellatio scene. It’s a strong against-the-odds showing from Davies but it is Matt Houston as Don Juan’s hapless offsider who captures the eye and utterly steals the show. He assumes a delectably funny rustic accent and a long-suffering disposition, complete with a splendiferous repertoire of body language. His timing is impeccable, as are his long meaningful looks and touches of pathos. He is emerging as one of the treasures of the Adelaide stage.
It is a large cast with which director Dansie peoples the stage in some lovely, moody scenes and moments of anarchical bedlam. Well costumed and lit, there are some lovely cameo performances, among them Kate Van Der Horst's Cockney Lotte and Ronald Densley's pukka Col, Matthew Chapman as Pete and Peter Bleby as poor old dad. There is lively support from Miriam Keane, Sarika Young, Ellie O’Leary, and Rezuanul Jewel. And let’s not forget AJ Bartley in whiteout as the statue. There are moments when Dansie could whip the pace a little but she could never improve upon the feel-good curtain call which sends the audience out smiling into the dark autumn night.
Samela Harris
When: 15 to 25 May
Where: Little Theatre
Bookings: trybooking.com
Galleon Theatre Company. Marion Cultural Centre. 11 May 2019
Galleon's Moving Mountains is reliable farce. It delivers on the laughs and there is much coming and going through doors. In the hands of director Erik Strauts, and his cast of players, it makes for a very enjoyable evening out at the theatre.
Charlie Fuller is all about moving mountains; particularly when it comes to the ladies in his retirement village. Charlie has “arrangements” with many of the women, and a reputation to boot, but when this friend-with-benefits falls in love, everything starts to unravel. Andrew Clark’s Charlie is charming and affable. The show hinges on his performance, and Clark carries the cast of crazy characters through the highs and lows with impressive energy. Lindy LeCornu and Kathy Strauts as Charlie’s lovers Gwen and Harriet, don’t get a lot of opportunity for character development but they absolutely bring the laughs.
When Charlie’s daughter Elaine, played by Sharon Pitardi, shows up the stakes are really raised. The paternal relationship between Pitardi and Clark is initially hard to buy as the two seem closer in age than father and daughter. However their performance overcomes this quickly.
Elaine is eagerly followed by her hotfooted wannabe lover Robert, who is also her and her husbands stock broker – with a wife of his own! Theirs is all the worst aspects of relationships set in stark contrast with the burgeoning love of Charlie’s life. Josh Van’t Padje embodies Robert with a nerdy energy that fits, but feels a tad desperate in the shadow of Pitardi’s constant rejection.
But it is when Polly Adamson moves into the village that Charlie becomes besotted. Robert is her son and, in a sly move on his part, he aims to see more of Elaine whilst visiting his own dear mother. Polly is a shy widower, and Charlie sees his opportunity to “move her mountains” and gets straight to work. Shelley Hampton delivers the naïve Polly at first with timidity, but she soon comes out of her shell.
One might think this farce replete but enter Adrian Heness as Marc, Polly’s young nephew, and sparks really fly. Marc is in love with an evasive woman and seeks Charlie’s help to successfully court her. Charlie’s advice is, of course, sage and (spoiler alert) when her discovers that the object of Marc’s affection is his own, Polly, the wheels completely fall off. Heness’s Marc is honest and one never fails to believe he is captivated by the much older Polly.
The whole cast come and go from Charlie’s apartment – well designed by Brittany Daw and lit by Luke Budgen – in a cavalcade of emotion and the result is laugh-out-loud fun. Worth a look.
Paul Rodda
When: 9 to 18 May
Where: Marion Cultural Centre
Bookings: galleon.org.au