The Fall - Review

The Fall

All Rhodes Lead to Decolonisation

Cast 

Ameera Conrad, Oarabile Ditsele, Zandile Madiwa, Tankiso Mamabolo, Sizwesandile Mnisi, Sihle Mngwazana, Dleo Raatus

Cast Curators - Ameera Conrad and Thando Mangcu

Facilitator - Clare Stopford

Set Design - Marisa Steenkamp

Executive Producer - Lara Foot

Arts Centre Melbourne

Fairfax Theatre

August 28 to September 2

Coming to us from The Edinburgh Fringe Festival and presented by students who were directly involved in the action; The Fall is vital, vibrant, massively relevant to our multi-cultural modern world and totally worth catching.

It is a rousing, honest and reflective work of ‘docu drama’ by a group of young people, about a student revolution at Cape Town University that aimed to remove a statue of colonialist Cecil Rhodes – rhodesmustfall movement.  This campaign also sparked debate about removing a statue of Cecil Rhodes in Oxford.

The opening night in Melbourne was enthusiastically rewarded with a heartfelt, jubilant standing ovation.  

The clever, focused and energetic team of seven performers – through stirring and uplifting song, percussive sound, spoken word and enactment - describe how the lives of Black Africans are atrociously undervalued in Cape Town and presumably South Africa generally.  Even in the Tertiary Education System these young capable hardworking intellectual elite do not have the same social standing as their white counterparts.

The subtitle of this work  ‘All Rhodes lead to Decolonisation’, is a witty clever word play on the subject matter and a relevant call to action.   So hoping that many from our African communities get to catch this one.

The Fallis the perfect fare for VCE Drama Students and those working towards a collaborative style of making Verbatim Theatre.  It reminds us all of just how accessible, relevant and appealing political theatre can be if well handled.

Suzanne Sandow

(For Stage Whispers)

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 - Dancing on the Volcano

‘Dancing on the Volcano’ 

A biting satirical journey through Berlin cabaret of the 20s and 30s

By Robyn Archer

With 

Michael Morley – Piano

George Butrumlis – Accordion 

 July 9-11 2018 at the Fairfax Studio – Arts Centre Melbourne

This show is a true delight moving its audience from laughter to tears.  Robyn Archer’s extraordinary capacity to engage with some of the darkest aspects of human nature, and then rise above it, whilst ushering her audience on a deeply entertaining expedition to source rare gems of perception, is nothing short of an exceptional gift.  

Musicians Michael Morley (piano) and George Butrumlis (accordion) work in wonderful well-oiled synchronicity with Ms. Archer on this intense and very moving, yet seemingly, brief and fleeting journey.  The 90 minutes, (twenty two musical numbers and two poems), of this show pass swiftly and leave one elevated.

Part disarmingly imparted History lesson the evening is presented with, clearly elucidating, explanations between each musical number. Many of these songs are not only pertinent but also acutely disturbing in relation to their place in history and relative to our escalating appetites and growing insensitivity to those around us who find themselves in desperate and precarious situations.

Ms. Archer is able to sing as though a bloated misogynist lecher transcending gender – presented as a kind of statement of fact, with reference to the ‘Me Too movement’.  By contrast she croons ‘Falling In Love Again’ with all the sensuality of Marlene Dietrich.  And yes an excellent rendition of ‘Mack the Knife’ from The Threepenny Operais included.

Then we also have the opportunity to listen to Frederick Hollaender’s satirical song set to Bizet’s music ‘The Jews’, a sharp reminder of how easy it is to slip into the inhumane behavior of ‘othering’ and blaming minority groups.  Ms. Archer also takes the opportunity of reminding us that it was the 1929 Wall Street Stock Market Crash that brought about the devastating world-wide Great Depression.  

And there is much to delight in in the awe-inspiring sagacious propensity of cabaret writers of Berlin in the 1920s and 30s. All men of exceptional talent and sadly impeded longevity.

I expected a marvelous night and couldn’t have asked for more.  Educated, entertained and deeply moved, my guest and, I left the Fairfax Theatre feeling satiated and uplifted.

Suzanne Sandow

Review - La Vie Dans Une Marionette

Arts Centre Melbourne Present

The White Faced Crew’s

LA VIE DANS UNE MARIONETTE

(Life in a Puppet)

Fairfax Theatre – Arts Centre Melbourne

18 &19 January – 7pm

20 January 2pm & 7pm

This delightful show is most appropriate for children who are eight years and over and quite a delight for adults.  However children younger than eight find hilarity throughout due to the incorporated comic repetition.

The show opens well before metaphorical curtain with the very personable and charming Jarod Rawiri chatting to the audience in the Foyer, and getting up to some wacky ginks in the Auditorium.  By Rawiri, as a witty white-faced clown, children are engaged and encouraged, to respond naturally and spontaneously. 

Rawiri is also our compare.   He recruits an unsuspecting audience member to assist him in a hysterical introduction of what to do and what not to do as a Theatre audience. 

Subsequently the show progresses in a riveting silence - with the exception of piano accompaniment both played and recorded. 

Tama Jarman, a white faced pianist, is in his austere one roomed home.  Obviously an eccentric lonely character with some quirky behavioral ticks this sensitive musician hides from the world.  However a marionette (Christopher Ofanoa) is delivered in a box.  What ensues is some stunning mime between these two characters and then a kind of disclosure from Jarman.  His character experiences a journey of self revelation that enables him to better understand himself and renders him much less stitched up.

This curious and intriguing little show is not without a lesson/moral and resolves very movingly.  Take from it what you will it is a unique treat from New Zealand that is well worth catching in its short season in the comfortable Fairfax Theatre. 

The ticket prices are very reasonable for such a unique and evocative event.   LA VIE DANS UNE MARIONETTE offers a lovely opportunity for the whole family to get together and enjoy one of the numerous family friendly offerings available at the Arts Centre Melbourne.

Suzanne Sandow

(For Stage Whispers)

Cho Cho - Review

Arts Centre Melbourne, National Theatre of China and Playking Productions presents:

Cho Cho

By Daniel Keene

Music by Cheng Jin

Directed by Peter Wilson

Designer - Richard Jaziorny

Lighting – Wang Qi

Musical Director – David Piper

Re-rehearsal Director – Lech Mackiewicz

Cast:

Scott Irwin – Pinkerton

Wang Zheng – Cho Cho

David Whitney – Sharpless

Du He – Guma

Dong Wenliang – Lou Shu

Danielle Barnes – Kate/bar singer

Puppeteer – Hang Xing

Producer – Ziyin Wang Gantner

October 2013

Playhouse – Arts Centre Melbourne

Whether the outcomes are stunningly successful theatre, or not, we are extremely privileged in Melbourne to be regularly treated to valuable cultural exchanges by the Arts Centre.  This work is particularly interesting because of the changes and redevelopment it has been subject to.

Cho Cho in its current rendition is a wonderful opportunity to witness an attempted melding of English and Chinese language and music through the use of a timeless story of a young woman wronged, albeit as interpreted without sentiment and embellishment by writer Daniel Keene over twenty five years ago.  However the combinations of language, music and acting styles do not fully compliment, or indeed sit comfortably with, each other at all times.  This disconcerting disconnect renders the work intriguing though bemusing, and for this viewer, distances the story. 

With the exception of the use of puppets by a master puppeteer Hang Xing, some of the duets and the characterization of the two villainous comic characters, Du He as Guma and Dong Wenliang as Lou Shu the cruel mercenary relatives who foist Cho Cho on the uncaring Pinkerton, Cho Cho lacks light and shade and therefore nuance.   

Combining live music with a backing recording seems to be commonplace now days.  In this instance there is often a sense of a dulling and muting effect on the efforts of the live instrumentalists, though not the singing, which is often entrancing.

Musically composer Cheng Jin affords mixed results. However the voices of Wang Zheng as Cho Cho and David Whitney as Sharpless combine exquisitely a number of times throughout.

Problems of literalism pervade the design of the set by Richard Jeziorny.

Having not caught Cho Cho thirty years ago but remembering the excitement surrounding its inception I rushed to grab a review ticket for this return performance.  Although it is encouraging and interesting to see this twenty-five year old work revived, I doubt it bares much resemblance to the original. 

It feels a little weary, simplistic and frozen behind a proscenium arch.

Perhaps this airing in Melbourne will blow away some of the cobwebs and renew a sense of trusting connected with an Australian audience.

Suzanne Sandow

Review - Botanica

Botanica

By MOMIX

Conceived and designed by Moses Pendleton

Performed by: Dajuan Booker, Jonathan Bryant, Simona Ditucci, Morgan Hulen, Autumn Burnette, Elizabeth Loft, Nicole Loizides, Graci Meier, Matt Schanbacher and Jason Williams.

Lighting Design: Joshua Starbuck and Moses Pendleton

Costume Design: Phoebe Katzin, Moses Pendleton, Cynthia Quinn

Puppet Design: Michael Curry

Presented by the Arts Centre Melbourne

State Theatre

7 to 11 August 2013

Botanica is a well-paced, abundant and engulfing work, a visual feast richly informed and buoyed with a great eclectic cultural mix of music.  My over all response is that it is an exquisitely realized design, a rare gift of theatrical interpretation.  It is a wonderful journey amongst anthropomorphized flora, fauna and natural phenomena.

MOMIX have created a generous and joyful work that allows for interpretation.   Though it contains some dark and brooding scenarios and moments that hint at the subliminal it is a wonderfully rich work that can be enjoyed by all the family.  I was accompanied by an eight year old who, for the whole ninety minutes, appeared to be happily transfixed and impressed.  She often whispered, to me, an inquiry or meaning she gleaned as the work progressed.

gum-nut dance, the preening of a number of handsomely conceived and executed centaurs, a wonderfully narcissistic mirrored androgynous full-bodied contortion, a prehistoric dinosaur, swarms of insects and numbers of birds, a miraculous snake exhibition and even a fan dance.  

Throughout strong contemporary dancers are amply supported by wonderful multi-media, lights and costumes and masterfully manipuliable objects.  The incorporated colors are vivid and spectacular.  There are many delightful and whimsical surprises and much excellent puppetry to b enjoyed. 

Great show for children from about eight to the grandparents.

Suzanne Sandow

(For Stage Whispers)

Review - Oh Suivant!

Oh Suivant!

Performed by: Dirk Van Boxelaere, Flen Ban Herwegen

Direction: Dirk Van Boxelaere, Flen Ban Herwegen, Leandre Ribera

Music: Alain Reubens

Set: Paul Van Herwegen

Costume: Monique Jacobs

Art Centre Melbourne, Fairfax Studio

15 – 27 January

Oh Suivant! is a delightfully enlivening and fun intimate circus experience, in a comfortable small theatre at the Arts Centre, where everyone gets a great view of what is happening.  The three children who accompanied me, a six, eight and eleven year old, were engrossed by this cheeky, funny, ‘five hander’.  Well it is a ‘two hander’ really - that makes very entertaining use of audience members!

There is never a dull moment and not one word is spoken.  Audience participation is superbly set up, as one would expect, by consummate street performers Fein Van Herwegen (pianist and assistant) and Dirk Van Boxelaere (D’Irque) juggler and acrobat.  Oh Suivant! is brought to us from Belgium by Explosive Media an insightful company who have been providing Melbourne with all sorts of fun community events for a couple of decades now.

Kids and adults alike are kept engaged anticipating and wondering what is going to come next as D’Irque, to Van Herwegen’s sensitively synchronized musical accompaniment, sets things up bit-by-bit with lovely little slights of hand and considerable audience assistance, to mini climaxes of acrobatic feats and unusual juggling knacks.  And the final, of numerous climaxes, is ‘so fun’ as it most satisfyingly, accomplishes an elusive feat alluded to throughout the whole show.

Every show will no doubt vary, depending on the audience members who volunteer or are coopted into cooperating.  Some will be more riotous and ridiculously funny than others.

My only quibble with the opening performance is with the lighting I feel it is a little dull and needs some tweaking.

This, not to long, not to short, charming, well rounded little show is highly recommended as a lovely, fun theatrical holiday outing for any family with kids of any age - from about four years up. 

And it is mercifully very reasonably priced!

Don’t miss it!

Suzanne Sandow

(For Stage Whispers)