Review - Scaramouche Jones

Arts Centre Melbourne Wander productions

Colin Friels 

in

Scaramouche Jones

By Justin Butcher

Performed by Colin Friels

Directed by Alkinos Tsilimidos

Set and Costume designer - Richard Roberts

Lighting Designer – Matt Scott

Sound Designer – Tristan Meredith

18 - 25 August 2018

Scaramouche Jones is a wonderful opportunity to see veteran actor Colin Friels convey a complex character with splendid insightful skill. 

 In a very short eighty minutes Friels captures and reels in his audience and entrances with stories of character the fictional clown Scaramouche, who has lived an exceptional life that highlights extraordinary events and happenings of the 20^thCentury. 

Too seldom now days we, as audiences, get the chance to watch our own ‘Theatre Royalty’ perform live for us.  In the intimate space of the Fairfax with his marvelously trained body and voice Friels is able to convey rich and detailed nuance that brings an audience to its feet for a standing ovation.

Last seen, last year, in Melbourne in The Faith Healer, an outstanding production from Belvoir Street, Melbourne Audiences are privileged to be able to watch Friels this year.

Friels does not seem to be ‘acting’ and certainly does not work with self-conscious flourish but rather lets Butcher’s very fine writing do its work through his well-modulated voice of resonant timbre.  

Son of a gypsy prostitute and an Englishman, the fictional, Scaramouche has lived a complex adventure.  He wears his seven white masks like the seven ages of man and gains each like a marvelous gem of wisdom honed through profound, challenging and yet at times tawdry experience.  There is much wonder, joy and many opportunities for laughter.

The set by Richard Roberts hints of circus and perhaps a ship.   To my mind it is a little dull, not that this is of great importance.  Although I am left with a nagging feeling that the space could be used to better advantage. Friels costume also by Roberts has a lovely understated elegance about it and is beautifully proportional clown costume.

The lighting changes on opening night were a bit clunky and obvious.  This is something that I believe I have experienced recently in the Fairfax and am wondering if technical difficulties are being experienced.

Small concerns aside, this is a splendid opportunity to watch, marvel at and support one of our seasoned ‘National Treasures’ in Colin Friels.

Suzanne Sandow

(For Stage Whispers)

Review - Generation Jeans

Belarus Free Theatre

Generation Jeans

By Nicolai Khalezin with the 

Participation of Natalia Kaliada

Directed and Performed by

Nicolai Khalezin

Music by Lavr Berzhanin (DJ Laurel)

Interpreter and Subtitles Operator

Daniella Kaliada

Producer 

Claire Robertson

  

A Malthouse Theatre and Monash Academy of Performing Arts Production

Alexander Theatre – Monash University

6 – 8 August – 7.30

Malthouse Theatre

9 – 18 August 2018

  

With an excellent sense of irony and humour, in an open crisp grounded manner, Nacolai Khalezin tells, us, his story.  The choice of words and Khalezin’s native tongue evoke strong imagery.  Translation is sur-titled with enough time to read, whilst attaining adequate glimpses of the performer, to become entranced by the authenticity of his narrative and presentation.  

Generation Jeansis an acutely personal and poignant story of desire, and drive, for freedom.  Denim Jeans are a powerful and provocative symbol of this freedom.   As we follow Khalezin’s journey, as a young adult, of protest and incarceration the evening is flavoured, enhanced and endorsed by the most splendid sound track.  Throughout the audience is encouraged to examine and appraise, individual and personal notions of freedom. 

It is the story of a man, who is now in his early 50s that can be defined as ‘Post Dramatical Personal Theatre.’

The music as played for us by DJ Laurel - Lavar Berzhanin is penetratingly provocative, marvelously evocative and often (to my ear) more than fleetingly of the era under examination.  This msuic is largely comprised of Jazz, most particularly Electronic Jazz and Funk and Soul. At times it creates atmosphere, supports and underscores.  And at other times it seems to reach out to us - as it’s own separate identity - generating space for contemplation.  In this way it supports and endorses whilst adding breadth and space.

Khalezin’s story is of the drive for freedom, self-expression and freedom of speech that leads to political protest and brutal incarceration.  This incarceration, in all probability, made all the more terrifying for someone like Khalezin - a creative free spirit with a vivid imagination. 

Fascinatingly we are made privy to some of the twists of his mind and mind games as experienced when imprisoned.  

Khalezin uses marvelous imagery for example he talks of a man whose voice is ‘as grey as his suit’.  Much joy is expressed, in his rich European sensibility, of the love of pickles and sausages and the understanding of a woman for her man and vice versa.  From his description of jeans, the inference is that, they are ‘sexy’ and worn by attractive people.

At one point pivotal point we are asked to call out -  “I am free!”  Such a provocative way to position his audience to question!  What is freedom and self-determinism in our ever-contracting world where our autonomy is dwindling as we render ourselves more inescapably hostage to our mobile phones and social media.

Belarus Free Theatre builds its works as campaigns.  They create ‘Campaign Theatre.’  Its pivotal modus operandi is a heightened awareness to social injustice and human rights violations.  And here its members are experiencing, and creating work in, Australia.   And yes they have been to the Northern Territory and looked into the shameful way we have been treating refugees.  They are working with Australian Theatre Makers to wards a Melbourne International Festival show –Trustees.

Catch anything you can from and about these inspiring and courageous Theatre Makers

Suzanne Sandow

(For Stage Whispers)