Review - Deceptive Threads

Bowerbird Theatre presents

Deceptive Threads

Devisor/Performer – David Joseph

Devisor/Director – Karen Berger

Projections Design – Joe Scoglio and Hisham Twfiqi

Lighting Design – Bronwyn Pringle

Set Consultant – David Murphy

Sound Design – David Joseph and Karen Berger

45 Downstairs

9 to 20 November 2016

Deceptive Threads depicts aspects of the comprehensively researched family, and lived personal, history of David Joseph.  It is an exquisitely crafted piece of theatre made by a number of exceptionally skilled practitioners and seamlessly linked with insightful direction by Karen Berger.   

As a sincere, genuine, moving work, full of heart and integrity, it brings with it strong and timely messages about attitudes to migrants and refugees.

David Joseph, a delightfully personable performer, executes short vignettes of several characters from his heritage, most particularly his paternal and maternal grandfathers.  The first of whom was a Lebanese refugee and the second a Tivoli artiste and ASIO spy.

It is not so much a narrative as a collaged collection of memories, facts and emotional responses.  As Joseph slips from one character or scenario to another, the telling is continued with beautifully orchestrated multi-media.  This is masterfully realized through the projecting of historical ephemera, by Zoe Scoglio and Hisham Tawfiqi, onto a wonderful variety of objects on the set.   Sound design by Joseph and Berger fits ‘hand in glove’ with visuals. 

This show is expressive, even-handed, well tuned, tightly timed, oozes humanity and integrates a light humorous touch. 

The whole culminates in some masterful drumming by David Joseph.

As a self devised work is engaging and satisfying and would be particularly useful and interesting for VCE Drama Students and as inspiration for those who create their own work.

As this production settles in and timing becomes more relaxed it will doubtless gain in nuance.

Suzanne Sandow
(For Stage Whispers)

Review - White Day Dream

White Day Dream

Presented by

Weave Movement Theatre  

& Yumi Umiumare

Direction and Choreography – Yumi Umiumare

Composition and Sound Design – Dan West

Stage Design – Jennifer Tran

Lighting Design – Richard Vabre

Media Art – Bambang N Karim

Co-devised and performed by:

David Baker, Willow J Conway, Tim Crafti, Trevor Dunn, Janice Florence, Emma J Hawkins, Melanie Keely, Greg Muir, Ryan New, Emma Norton, Leisa Prowd, Anthony Riddell

Weave Artistic Director – Janice Florence

Production Manager – Rose Godde

45 Downstairs

27 October to 6 November 2016

Intrinsic to White Day Dream is a whimsical set by Jennifer Tran made almost entirely of white plastic shopping bags, in fact the plastic bags extend to the auditorium.  They are a marvelous canvas and make great props. 

Photo by Paul Dunn

Throughout there is a pervading atmosphere of magic realism that owes much to masterfully lighting by Richard Vabre.  One feels suspended in a dream that ebbs and flows through a variety of visceral changing realities.  Sound design and composition by Dan West adroitly assists the audience to move with the shifting themes.  And Media Art by Bambang N Karim enhances with special magic, meanings and vivid colour. 

Performers, who are all very obviously finding deep joy and satisfaction in entertaining, are totally focused, and work as a supportive team.  ‘Weave Movement Theatre’ members wow the audience with their courage and commitment.  Performers in wheelchairs play their parts beautifully and fluidly without self-consciousness.

 

Wonderful combinations of shapes and sizes and abilities are mixed seamlessly to make very moving comments, most memorably, about connection and acceptance.

Photo by Paul Dunn

Trevor Dunn mellifluously voices an intriguing poem, of the same name as the shows title, by Anthony Riddell.

The three guest artists are stunning and bring unique artistry.  Willow J Conway’s presence is cheeky, jaunty, delightfully wistful and deeply imbued with sincerity.  Tim Crafti’s dancing is a fluid and pivotal glue.  His sinuously twisting extensions are fascinating to watch.  Emma J Hawkings charms her audience with her lithe graceful athleticism and engaging warm expressiveness.   

Yumi Umiumare with her own special brand of Butoh as Director/Chorographer is very even-handed and, I would suggest, liberating for her cast.  She is an inspiring Artist.  White Day Dream is at times deeply affecting and moving and often funny and jubilant.   There are also contrasting motifs imbued with a sense of pending danger and troubling darkness – a hallmark of Butoh. 

In all, it flows and floats like an ambiguous yet affecting dream.  Part satirical cabaret, part wacky Russian Ballet, sideshow, mime show and surreal painting – a riveting and gloriously successful show in combining artists who have a wide-ranging variety of abilities with sensitivity and unerring dignity.  It is an acutely joyful and affirming work - full of wonder.  And yes there is a lot you can do with a white shopping bag.

Photo by Paul Dunn

Don’t miss this one it is a treat! 

The show to book for would be the last one on Sunday the 6^th as it is to be Auslan interpreted (Auslan Stage Left) and Audio described.  There will also be a Tactile Tour prior to this show at 4pm.

There is wheelchair access at 45 Downstairs but it does require entering round be back of the building and a bit of a journey down laneways.

Suzanne Sandow

(For Stage Whispers)

Review - Someone Like Thomas Banks

Someone Like Thomas Banks

Thomas Banks – Writer/Performer

Lucy Freeman – Director

Gayelene Carbis – Writer

Nina Barry-Macaulay – Dramaturge

Canada White – Stage Manager, Set Designer, “Lorraine”

Scott Allen – Lighting Design

Lynn Gordon – Auslan Interpreter

45 Downstairs – until November 8 2015

Someone Like Thomas Banks is a wonderful unique opportunity to be offered insight into the complex life of an earnest, intelligent and astute young man with Cerebral Palsy.  It is a moving and joyful work that celebrates difference and highlights the need for more disability friendly Theatre.

Photo - Gemma Osmond

It may be a bit tricky to understand exactly what Thomas Banks is saying, at times, when he is talking, but he kindly suggests that we don’t worry to much because most of what he is trying to communicate will be made clear - and it is.

There is Auslan translation throughout allowing for easy engagement by members of the Deaf community and those who understand Australia’s very own language for the Deaf.

Banks uses a number of methods of to get his message across.  Multi-media, including an interactive video is used to great, clarifying effect.

This show courageously delves into the wishes and desires of a young gay man.  But in a more universal sense will touch anyone who has hoped for the elusive attainment of a sexual partner to love and sleep next to.   It is poignant.

Someone Like Thomas Banks has been developed over time with Director Lucy Freeman from its inception as part of the Platform Youth Theatre 2010 Provokateur project.   It honors the disabled in many ways including providing a disabled entrance to 45 Downstairs which offered quite and adventure in feeling vulnerable and a little on edge walking through darkened laneways to get to the ground floor performance space without the use of stairs.

Photo - Gemma Osmond

Banks who is many things including a proactive champion for disability recently had my table cleared at Malthouse and engaged my companion and I in conversation about what we were going to see.   He is very obviously a dynamic young theatre devotee.

He involves audience members an in this way adds another echelon of understanding most particularly the realization that one may need to slow down a bit and just take a little more time and effort to listen sometimes to fully understand what is being said.

This wonderful and cleverly managed show is well worth catching – don’t be sorry you missed it. 

Suzanne Sandow

(For Stage Whispers)

Review - Picnic

KAGE and 45 Downstairs

Present

PICNIC

Written by Marieke Hardy

Directed, Choreographed and Performed by Gerard Van Dyck

Composed by Alisdair Macindoe

Video and Lighting Consultant – Ben Shaw

18 – 30 August 2015  

45 Flinders Lane

This is a delightful short crisp lyrical work that is great fun from go to woe.   It is the type of sparkling lovely show that one could base a light and happy night out with friends, or that special person you have been meaning to catch up with, on.   It is a delicate sensitive joyful work, for which, Marieke Hardy has written a lovely ‘springboard’ that Gerard Van Dyck has fleshed out.  

Gerard Van Dyck - photo by Jeff Busby

PICNIC opens with the magic of sound and trilling birds that indicate the countryside, and I for one kept thinking of Chekhov, as we were taken along for a picnic - a quirky time in a liminal space with eskys and an eccentric family.  

Van Dyck engages us with anecdote and his charismatic personality.

He is a beautiful expressive lyrical dancer.  His work is joyful, nimble, agile, and has a sense of weightlessness.   In fact the whole ends with a delightful homage to the magic of elevation.

As a fun poetic work highlighting true creative mastery, like all good art, it speaks to the creative urge in the viewer.  I noticed the woman next to me drew two beautiful little birds on the tiny small bit of paper the audience is given to write a love letter.  

Photo - Jeff Busby

Hopefully this specific offer (the love letter) to respond to the work can be ironed out, a bit.   It could be suggested that the love letter everyone writes could be generic and un-gendered and glowing.  So as one leaves the performance space and takes a lucky dip written by someone else it can have a beautiful - neutrality and offer the illusion it was meant for you and you alone.  (The one I picked out with addressed to Bree - so I had no doubt that all the love and passion wasn’t directed to me.)

Photo - Jeff Busby

Grab the opportunity to see this delightful work.

Suzanne Sandow

(For Stage Whispers)