Review - Present Laughter

The Mount Players Presents

Present Laughter

By Noel Coward

Directed by Andrew Meldrum

Set Design – Marg Muehlheim and Andrew Meldrum

Set Artist – Marg Muehlheim

Lighting Design - Roger Farley

Costume Design – Julie Baldwin

Cast

Daphne Stillington – Serah Nathan

Miss Erikson – Margaret Muehlheim

Fred – Alan Stone

Monica reed – Cherry Servis

Garry Essendine – Michael Treloar

Liz Essendine – Michelle Tanner

Roland Maule – Tim Allen

Morris Dixon – Frank O’Connor

Joanna Lyppiatt – Justine Press

Lady Saltburn – Bernadette Tonna  

17 November – 3 December 2017

This production is spiced with moments of real theatre magic.

Interesting how Noel Coward’s work seems to be experiencing something of a serious come back.  Present Laughter is currently being played on Broadway and starring Kevin Klein.

The story is simple; famous charismatic actor Garry Essendine is gearing up to do an African tour.  The complications are intrinsic to his relationships, lifestyle and the business of Theatre production.  It is a comedy of manners teetering in farce and often really funny in that clever witty high camp way of Coward’s work and era. 

The romantic relationships that cause consternation and angst are heterosexual, though I think, part of the depth of the work is the intrigue of Coward’s actual sexual orientation.

The set is handsomely realized (Marg Muehlheim/Andrew Meldrum) as an art deco apartment with depth, style and several doors for off set rooms - for hiding people – of course.  Costumes (Julie Baldwyn) very often work in lovely sync with the colours of the set. 

All actors take to their parts with real aplomb and serve the production skillfully.  Serah Nathan brings us a lovely lively Daphne Stillington who sets the scene and creates a kind of background narrative to what eventuates.  Her heightened energy truly enhances the piece.  No mean feat to open a piece of theatre and Ms. Nathan must be complemented for doing this so charmingly.

Tim Allan as Roland Maule exudes energetic wackiness and is most entertaining.  Alan Stone as Fred, Essendine’s manservant conveys appropriate ironic awareness and even dances a lick.  Margaret Mulhlheim’s Miss Erikson is fascinating and particularly in her exit scene.  Cherry Servis as Monica is marvelously straight laced in her extraordinary capacity to deal with the vicissitudes of her employer.  With a twinkle in her eye she graciously witnesses Essendine’s romantic mess-ups and experiences is curt glib discourtesies.

But it is Michael Treloar and Justine Press who really wow the audience.  The best work emerges in the second half of the performance and particularly when these two are on stage together.

Mr. Treloar plays the acerbic, cynical, sarcastic, over wrought Garry Essendine something of a parody of Coward himself.  This is a fabulous role for him and he excels in it. (Many times in interval I heard audience members whispering ‘isn’t he good.’)

Justine Press as Joanna Lyppiatt is just a joy to watch.  Miss Press inspires comforting confidence as she is quite obviously completely in control of her marvelously facetious yet courageous character.  She embraces the style and times of the piece and with perfect diction and exemplary timing.

Andrew Meldrum as director overseas a well paced and beautifully flowing production.   He is to be complemented on this and his excellent casting.  Things move very smoothly in times when the set is peopled with a considerable number of characters.  There is no unnecessary clutter either realized or imagined.

I will be very surprised if Present Laughter doesn’t have a sell out season.  Very classy!

Suzanne Sandow

(For Stage Whispers)

Review - True West

Mount Players Presents:

True West

By Sam Shepard

Directed by Travis Handcock

Set Design - Travis Handcock

Set Artist – Robert Wallace

Lighting Design – Roger Farley

Costumes - Debra Moore

Cast:

Lee – David Cubley

Austin – Lee Cook

Saul – David Runnalls

Mom – Sandy Green

Mountview Theatre Macedon

Until 11 June 2017

True West is a strong and interesting play by Sam Shepard.  It seems to be produced every now and again but not as often as Cowboy Mouth and not surprisingly as it is challenging for both actors and audience.

It is a courageous choice for Mount Players and its success it a testament to the especially strong ethic of team playing that this company thrives on.

Full of twists and turns True West surprises and shocks.  It touches on some mysterious, subterranean psychological motivations as it looks at the profoundly powerful sibling relationship/rivalry between two vastly different brothers, Lee (David Cubley) and Austin (Lee Cook).

It is dark, a very dark the story of a kind of a nightmare of interaction that can happen in the family home.  However at the same time it is almost hysterically funny especially in the second act.

This production is marvelously staged on a sort of framework/skeleton of a house, designed by Travis Handcock and heightened by one of Robert Wallace’s stunning backdrops indicative of the harsh desert environment.  Lighting (Design – Roger Farley and Operator – Roslyn Farrugia) is often used to considerable effect in creating atmosphere. 

Stage directions are honoured and the success of the second act’s deep dark humour is very dependent on this.

All actors work with integrity and commitment to their parts and the production as a whole.  And both leads do a stunning job in their own way.  However as a masterpiece of American Theatre the text is exceptionally demanding and requires a complex sense of communication between the two brothers. The drawback in this production, for me, is the casting.  Although both lead actors do a fantastic job of getting their characters over to the audience it is very, very difficult to see them as biological brothers.

It may just be my sensibility but these two need to be seen to affect each other or perhaps more importantly - actually listen to each other. Through their familial intimacy Shepard’s characters have the power to destroy each other.  The stakes are very high.  They are, fortunately, certainly not over acting but I think the piece requires a slightly more naturalistic approach.  Less acting and just a bit more naturalism could do the trick.

I would like David Cubley as Lee to take a couple of steps back, project less, and allow the audience to witness more of his thought processes.  In this way the dark insidious elements of the work could be seen to creep in and bring with them a more suspense filled atmosphere.

As audience I would like to register more shock and distress provoked by the uncanny, subtle changes throughout.

Director Travis Handcock has been very ambitious in this choice of work and it seems to be paying off.  Round the traps the word is out that this production is controversial and polarizing – some love it some hate it.  However it is getting the houses and is well worth catching if you can. 

True West is an engrossing story that offers heaps to think about.

Suzanne Sandow

(For Stage Whispers)

Xanadu

Directed by Julie Paice

Musical Director – Jem Sherwill

Choreographer – Donna Johnston

Producer - Amanda Watson

Band:  Keyboard – Jam Sherwill, Bass Guitar/Double Bass – Peter Cocklin, Drums – Con Mah, Guitar – Sophie Cox, Trumpet – Darren Milligan, Tenor Saxophone/Clarinet – Lucy Harrison, Keyboard/Alto Saxophone/Trombone/Flute – Sue Morris

Cast:  Bethany Foletta, Ray Maddocks, Jarrod Catt, Casey Withoos, Felicity Legg, Eve Lynch, Liana Petruccelli, Nikita Scott, Jess Ryan, Lauren Smedley, Melissa Barclay, Alex McMurray, Pam Lenders, Marie Darmos, Wade Dinning Nicholas Bingham, Jacob Elliott, Jenny Vanderzweep, Caitlin Bush, Nicole Chappell, Louise McLay, Amber Hemmes, Pennie Hume, Suzy Sliwczynski, Brooke Moorehouse, Liam Tran.

Mt View Theatre

Until June 4 - 2016

Xanadu is surprisingly cheeky, fully of jokes and has an edge of witty irony.  This production, featuring a vibrant cast of mixed ages and talents, has been skillfully brought together by Director Julie Paice.   There is never a dull moment. 

It is based on the 1980s film that was apparently a box office flop but the memorable soundtrack was understandably a big success with songs such as ‘Magic’, ‘Suddenly’ and ‘Xanadu’ that were performed by Olivia Newton-John and The Electric Light Orchestra. 

This fun and very funny production opens on a delightful painting by Marg Mulheim projected onto a scrim, behind which, an extremely tight and exhilarating band headed by Jem Sherwill plays the overture with aplomb. 

When the scrim is lifted we are introduced to nine gorgeous Muses and the magical scene is set through a strikingly hand drawn Mural of Mt Olympia by highly respected local artist Robert Wallace.

The basic narrative is about forbidden love.  It is premised on a theory that Muses are expected to inspire human artists but are prohibited to fall in love with them.   However Clio/Kira the Olivia Newton-John role, played here by Bethany Foletta, seems unable to avoid Cupid’s arrow.

Choreographer Donna Johnston works with 80s themes to and elicits  excellent work from all performers who, universally, appear to be comfortable and happy when dancing.  The dance ensemble of Jess Ryan, Melissa Barclay, Nicole Chappell, Suzy Sliwczynski, Brooke Moorehouse and Caitlin Bush is a particularly impressive testament to some of the great dance schools in the local area and Ms. Johnston’s choreography.  And the tap routine of a flashback to the Air force of the 40s (The Andrew’s Sisters routine) is impressive and really enjoyable for the audience.

Liana Petruccelli and Nikita Scott are standout performers as Euterpe the Muse of Music and Irato the Muse of Lyrics and Erotica respectively.  Petruccelli gives a lovely ‘centered’ performance and Scott has a divine singing voice.

Felicity Legg as Calliope the Muse of Epics and most particularly Casey as the Muse of Tragedy ‘steal the show’ with their clear characterization and strong resonant singing voices.  They are a delight to watch and hear.

 

The two young leads, Bethany Foletta (Clio/Kira) and Roy Maddocks as Sonny Malone are appealing young performers who look perfect for the roles.  They are both ‘great movers’ - who would now do well to, breath deeply and, let it rip as far as their singing is concerned. 

Jarrod Catt makes an awesome Danny Maguire.  His singing and dancing is very cool and characterization spot on.  He has some great lines like; “Nothing turns around a crappy neighbourhood like the arts.”

One thought I had whilst watching this show, was concerning our contemporary approach of having directors pass shows over to stage managers and let them go on opening night.  I know directors who tighten and polish their work as the season is progressing.  In amateur theatre I think this could be good as young performers gain in confidence form being appreciated by an audience.  Therefore a few performances into a run much more can be drawn out of them and timing can be tightened because they are over the anxiety of opening.

It is always a treat to attend shows at Mountview Theatre where the atmosphere is generous warm and inclusive.

Suzanne Sandow

(For Stage Whispers)