Review - Plague Dances

  
Plague Dances

Four Larks Theatre

The Tower – Malthouse Theatre

April 14–29

By Four Larks (Mat Diafos Sweeney, Sebastian Peters-Lazaro & Jesse Rasumssen) and Marcel Dorne, Direction Mat Diafos Sweeney, Jesse Rasmussen, Sebastian Peters-Lazaro (movement), Set Design Sebastian Peters-Lazaro and Ellen Strasser, Costume Design Ellen Strasser, Lighting Design Tom Willis, Music Composition and Direction Mat Diafos Sweeney, arranged in collaboration with the musicians, Lyrics Jesse Rasmussen

Performed by Matt Crosby, Karen Sibbing, Emily Tomlins, Adam Casey, Genevieve Fry, Ida Duelund Hansen, Lisa Salvo, Kevin Kiernan Malloy, Esther Hanneford, Benjamin Hoejtes

Plague Dances is a well-crafted, evocative and haunting work melded with the exquisite use of instrumentation and the singing voice.

Full marks must go to Malthouse for facilitating and nurturing the promising youthful team of theatre makers that is Four Larks.  They have built a reputation working as creative spirits in ‘found spaces’. Now based in a conventional environment with a talented team of performers have fashioned another memorable offering in Plague Dances.  Although it is a less edgy and confrontational, than I expected (having not seen their previous works), they have skillfully written, created and rendered beautiful experiential, broad themed theatre, for a small space – the Tower at Malthouse.

Plague Dances is the story of a young woman Hannelore (Esther Hannaford), a stranger, who arrives in a Medieval Village. Under the protection of the priest (Kevin Kiernan-Molloy) she is inspected by the doctor (Matt Crosby), given a clean bill of health from the Bubonic Plague and conditionally allowed to remain in the community. Hannalore is a curiosity and a marvel as she has brought the sun with her – but she is also and an independent woman and, predictably, she must be contained and controlled.

In this representative community a lack of scientific knowledge renders superstition as infectious as any virus. Throughout we witness calculation and manipulation that highlights the ruthless fight for survival in Medieval Times.

The Tower Theatre is completely transformed to into an atmospheric Medieval environment by set designers, Ellen Strasser and Sebastian Peters-Lazaro. This excellent command of space, right down to the hessian covered auditorium seats, enhances the sense of impoverishment and hardship of the era, whilst the costuming (Ellen Strasser) suggests the repression of the Salem Witch Hunts.
  
Choreographically (Sebastian Peters-Lazaro), the whole is skillfully coordinated and structured and economically staged incorporating smooth and flowing set changes that are deftly executed by a proficient ensemble of performers and musicians.  An ingenious use of soil is exquisitely managed and the ‘Danse Macabre’ is reduced to a very effective succinct contorted writhing.

The lighting by Tom Willis assists in delineating various environments and enhances the ambiance with some cleverly positioned light sources.

For me and perhaps others of my generation Plague Dances is reminiscent of Whistling In The Theatre’s work in the late 1980s – early '90s at Napier Street.

Over all, on opening night, I experienced Plague Dances as earnest, and little too introspective in its delivery by most performers.  This, I think, is because the depth of meaning in this wonderfully ambitious work had, not yet, been fully teased out.  I feel sure that with every performance, in its very short season, Plague Dances will develop and become more nuanced as the performers relax more fully into the experience and engage more strongly with their audience.

(For Stage Whispers)

Review - More or Less Concrete

More or Less Concrete

Arts House – North Melbourne Town Hall

Choreographer/Director Tim Darbyshire, Performers Sophia Cowen, Tim Drabyshire, Matthew Day, Sound Designer Jem Savage, Original Sound Concept Myles Mumford, Lighting and Set Designer Ben (Bosco) Shaw for Bluebottle 2, Dramaturge/Sound Theorist Thembi Soddell

April 18–22

Innovative, collaborative, inspiring, visceral and hypnotic More or Less Concrete could be interpreted as a work about the nature of different and changing forms of concrete – however it is much more than that.

 

The piece opens with a mysteriously-lit (Ben Shaw) enigmatic and exotic intertwined tableau of dancers Sophia Cowen, Tim Darbyshire and Matthew Day. The three are almost completely clad in synthetic, hooded, protective overalls as designed by Rebecca Agnew. Moving initially slowly and intensely then often vigorously and repetitively they create many suggestive, perplexing, ambiguous yet strangely satisfying images. Their bodies are contorted and connected or separate, often in close relationship to the floor, in a combination of ways that suggest marine life, animals, insects and any number of images and realities depending on imaginative speculation and interpretation.

As spectator wearing earphones there is a sense of big hermetically sealed in the hazy blue half-light as a kind of voyeur of discomforting anomalies. It is particularly fascinating to watch the human flesh of hands as the only exposed body parts. Generally, I think it is true to say, movement in this work is not dependent on sound but rather sound is generated and extended from movement and impressions by sound designer Jem Savage.

More or Less Concrete is a highly refined, challenging and at times discomforting asymmetrical work of art.  Like an abstract painting it requires individual effort from each audience member to engage, interpret and endow with meaning to be experienced as a satisfying whole.  It is a unique experience and well worth the effort.

(For Stage Whispers)

Comedy Festival - Jenny Wynter - An Unexpected Variety Show

An Unexpected Variety Show

By Jenny Wynter

Butterfly Club

10 April – 22 April

In this great little ‘autobiographical musical stand-up’ Jenny Wynter displays much promise and significant potential.  It is comprised of anecdotes from her life, loads of music and songs and is part tribute to her mother who literally has the voice of an Angel. 

 

An Unexpected Variety Show is unexpected - it sneaks up on one.  Well it certainly snuck up on me and my plus one who was serenaded with an improvised song about her enduring marriage after, most unpredictably, being heartily interrogated about her relationship and how she and her husband (unexpectedly) met.

   

As with much comedy, throughout, is a slight milieu of risk.  Some aspects of the performance hold together better than others.  There is a ventriloquist/puppet segment that could do with some tweaking or be pruned.  A more personalized puppet, something made to order as a special tribute to Wynter’s nine year old daughter that it, kind of, represents could be cool.  And it would be awesome to see what a costume designer and make-up artist could do to show Wynter off.  However, in a sense, her almost unadorned comeliness is a big part of her genuine and disarming appeal.

I was reminded of the intimacy and courage witnessed in the early work of Denise Scott – in a very hazy way that is, it was a long time ago.

The mostly 20 to 30 something audience, in the small performance space at the Butterfly Club, really seemed to be connecting with and enjoying this authentic and candid work.

Sincerely entertaining – worth catching.

Suzanne Sandow

(For Stage Whispers)

Comedy Festival - 20 Golden Greats - Bob Downe

Bob Downe – 20 Golden Greats

Spiegeltent

29 March – 22 April

7pm Tues – Sat and 6pm on Sundays

From go-to-woe this show is an abundantly funny, syrupy ride.  Yep it’s the same old synthetically charismatic Bob, we know and love, yet somehow he seems more comfortable (and a bit like Sue from Glee) in his new wig and polyester track suit and truly at ease with his hometown audience – many of whom are adoring fans. 

 

Tune after catchy tune is sung with sparkling energy, exuberant confidence and just the right touch of irony.  There are CDs to be won amongst unflagging repartee, much of which is spontaneous, as is, Bob’s considerable interaction with the audience.

I particularly enjoyed the picture he painted of attending Melbourne Theatre Company first nights with a beautiful young man he calls his nephew wearing matching velvet bow-ties.

He achieves costume changes with the speed of lightening and yes we do get to see him in a safari suit, there is a Barry Manilow moment and we are encouraged to sing along from time to time!

Special guest Pastel Vesper charms in duet of California Dreamin’ by The Mamas and the Papas and her beautiful young daughter stars for a moment as ‘the assistant stage manager’.

Bob presents a moving tribute to Davey Jones in a very stylish suit with velour lapels.

He’s a legend, twenty five years! – Go Bob!

Most enjoyable – five stars!

Suzanne Sandow
(For Stage Whispers)

Comedy Festival - Punked – at St Ali

Punked by Ross Daniels. Directed by Emilie Collyer. St Ali – South Melbourne

28 March – 7 April. Season ended.

Punked is mesmerising. 

Ross Daniels charms his audience from the moment we hear his voice-over to commence his highly relatable to show. Seamless character driven storytelling Punked is a great rocky ride through a profound and significant rite of passage in adolescence. It captures the almost arbitrary nature of teenage experience and the foolhardy commitment to the outcomes of risky, and indiscriminate, choices in the crystallisation of Daniels' memories.

Through deft direction by Emilie Collyer and comprehensive characterisation, multiple points of view are expressed. Many sensitively drawn nuances are conveyed through the beautiful realisation of characters – most particularly the characters of Daniels’ long-suffering yet supportive grandparents. The complex milieu and very different political climate of the era infiltrates the whole and is also highlighted in the representation of a dodgy 1970s police officer.

    

Technically this work is very tightly wrought together with ‘spot on’ support from sound and light.

Punked has all the ingredients to be on the VCE Drama performance list as it is a very smooth and successful example of Solo Performance and would so easily tour schools.

It is a show for anyone who remembers growing up, or/and growing up in the 1970s, or still feels the pull of the crazed obsessive or is just crazed and obsessive.

Suzanne Sandow

St Ali a new venue billed as part of the South Melbourne Collection is at 12–18 Yarra Place in South Melbourne.  It is a little hard to find and basically behind Coles off Clarendon Street.  The food smells great and the menu looks enticing. There are a number of shows to catch there up until 21 April.  www.thatgirlentertainment.com/stalicomedy

Comedy Festival - Die Roten Punkte

Die Roten Punkte –

Eurosmash!

Clare Bartholomew and Daniel Tobias

The Spiegeltent

29 March – 8 April at 10pm

Great music, wacky lyrics - a fabulous gutsy character driven show, Die Roten Punkte is the creation of Clare Bartholomew and Daniel Tobais who play Astrid and Otto Rot a ‘hot’ Indie Rock duet.  Astrid and Otto, sister and brother, flirt with audience members, compete on a number of levels and ruthlessly spar with each other.  There is something very damaged, dark and incestuous in their relationship that fuels this ‘in your face’ entrancing and highly amusing sixty minutes.

The first time I caught Die Roten Punkte was in Kyneton a couple years ago where it was presented with more subtlety in an intimate setting.  I was ‘blown away’ and even moved to buy merchandise.  In its present form it is possibly suffering from time restrictions – but still solid.

Overall it is an extremely skillful - highly charged – show delivered with sharp spontaneity that could really ‘go off’ if Claire as Astrid, in particular, stopped playing for laughs and regained trust in her outstanding material and the affirming atmosphere of the magically organic Spiegeltent, that is nightly filled with, the urbane and comedy savvy. 

Inspired and inspiring.

Suzanne Sandow

(For Stage Whispers)

Comedy Festival - Running the Risque

Running the Risqué
Wes Snelling

Order of Melbourne

28 March – 8 April 7pm no shows 6 and 7 April

Running the Risqué is thoroughly enjoyable cabaret, with a gay twist, presented in a comfortable and relaxed manner. It opens with Wes Snellings drag Auntie Carol welcoming the audience and introducing a recalcitrant Wes. The whole is staged with little artifice and is ridiculous – good fun. 

 

Also included in the fifty five or so minutes is a new character, Wes’s cousin, Carl Snelling – a convincingly rugged sort of bloke – almost the antithesis of Wes. Carl is an interesting addition to the Snelling repertoire.

Snelling is supported by the multi-talented Stephen Weir as techie, guitarist and general foil.

On opening night the first special guest was Em Rusciano (as seen on TV in The Project and The Circle). Talk about risqué some of the anecdotes she tells about experiences of bourgeoning sexuality are fascinatingly unsettlingly and salacious; requiring an R rating. She sings beautifully and shines as a potential cabaret performer. Likewise Bart Freeman, as second special guest, is engaging and funny. The evening is capped off with an excellent surprising little drag number by Tina Del Twist.

There are a variety of special guests scheduled for the next week and it would be worth checking the website: wessnelling.com to consult the list, if planning to attend.

A show well worth catching in its short season!

Suzanne Sandow

(For Stage Whispers)