Blasted - Review

Blasted

by Sarah Kane

Direction – Anne-Louise Sarks

Cast:  Fayssal Bazzi, Eloise Mignon and David Woods

Set and Costume – Marg Horwell

Lighting Design – Paul Jackson

Sound Design and Composition – Jethro Woodward

Design Associate – Romanie Harper

Cinematography – Sky Davies

Gaffer – Jared Fish

Colourist – Nicholas Hower

Stage Manager – Lyndie Li Wan Po

Malthouse Theatre – The Merlyn

24 August to 16 September

If you love or hate or are completely overwhelmed by it there is no doubting that Blastedis an astonishing production of an extraordinary play.  The text by once ‘enfant terrible’ of British Theatre Sarah Kane had its first production at the Royal Court Theatre in 1995.   

This particular rendition boasts a stunning set by Marg Horwell and is directed with exquisite finesse by Anne Marie Sarks 

On opening night it took a while for the ‘shell shocked’ audience to clap - but once we started we did so with great enthusiasm.  What amazed me was that no one walked out during the show shouting ‘depraved.’  Blasted‘takes no prisoners!’  It is very powerful and pervading theatre.  It is the type of work that one mulls over for days and days because it offers rich perceptions and startling insights.

Opening as a two hander, seemingly based in naturalism. We watch a tortured dysfunctional relationship that activates concerns about abuse and domestic violence.   Two helplessly mismatched individuals, a young woman played by Eloise Mignon and older man by David Woods, spend time together in an upmarket hotel room.  There is little joy and considerable miscommunication.  It would seem that the relationship really only exists due to the neediness of the bloke (David Wood) who appears to be more like a hit man than a jaded and ill journalist.  Emotional blackmail, psychological manipulation and violence reign.  And we, as audience, just want to better understand why these two are actually together in the ‘tinderbox’ of a generic hotel room.

As the work progresses it becomes a vastly more extensive study of ‘man’s inhumanity to man.’   Nothing is sacred and it speaks of deep primitive masculine drives towards brutal sexual violence.  

Kane seems to be trying to investigate the masculine need (of some men) to sexually abuse.  Through this play we see just how perceptive she was and how she is able to shed light on dark and irrevocably entangled behavior.  She was extraordinary in her capacity to delve into the deep and subliminal and bring it up, into the light, to be examined.

One must pay homage to Eloise Mignon, David Wood and Fayssal Bazzi.  Their capacity and courage, as actors, to work with the intimacy and trust required to truthfully communicate their characters experiences is astonishing.

Sound by Jethro Woodward is superb, particularly in the very early stages when it is melodic and bell like and when silenced; it leaves in its wake an aching sense of palpable yearning. 

This is one of those gems of theatre that we so often hope to find but very seldom do.

Five stars from me!

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)

Review - Blackie Blackie Brown

Blackie Blackie Brown

The Traditional Owner of Death

By Nakkiah Lui

Directed by Declan Greene

Design – Elizabeth Gadsby

Animation and Video – Oh Yeah Wow

Lighting and Projection Design – Verity Hampson

Composition and Sound Design – Steve Toulmin

Concept Artist – Emily Johnson

Cast – Ash Flanders and Dalara Williams

Video Appearances – Elaine Crombie, Peter Carroll, Amelia Adam, Luke Carroll, Hugh Riminton, Lachlan Woods, Francis Greenslade, Nayuka Gorriem Malik Keegan, Lisa Maza, Kempton Maloney and Judith Lucy

Malthouse – Beckett Theatre – 5- 29 July 2018

Slick, tight, fast moving, massively loud and marvelously cathartic Blackie Blackie Brown is a kind of supernatural, part real and part animated, ‘Panto’.  And yes on opening night, with all its glitches, as audience we did get to call out - but not exactly; “he’s behind you!”

It feels like being a big kid - sitting too close to a TV turned up ridiculously, but satisfyingly, loud – watching a ‘grown ups cartoon,’ with images inspired by Emily Johnson.  Its an immersive, hard-hitting, clever, ironic world where there are no ‘thought police’ and no holes barred. 

Over all Blackie Blackie Brown is salacious, shocking and hysterically funny.

Hugely charismatic performers, Ash Flanders and Dalara Williams adopt appropriate personas for the numerous characters that people the versatile white significantly raked stage, designed by Elizabeth Gadsby.   They work with massive aplomb and vitality to meet and match the energy of the swiftly moving video installations that transform space, time and place by Oh Yeah Wow and complementary colossal sound design by Steve Toulmin.

Nothing is sacred and Nakkiah Lui’s script incorporates biting satire and much ‘political incorrectness’ on cultural matters - both black and white.  It is most definitely not for the faint-hearted but full of violence and brutality, particularly in the form of flying boomerangs, that leave no one unscathed or unharmed.

The central and pivotal moment of the work is the retelling of the story of an aboriginal massacre.  It is described with brutal clarity through the spoken word.  The audience then learns of the desperate, bloody and horrifying response from a mother who watched the inhumane murder of her children.  From thence us whities don’t get a chance to indulge in our pathetic shame.  Blackie Blackie Brown becomes a high octane revenge story.

A magnificent black female superhero Blackie Blackie Brown is incarnated to take a justified and vicious revenge on the descendants of those who brutalized her mob.

Strangely this ‘in your face artistic version’ of our, not so hidden anymore, history - although speaking much vile truth with clarity - is way more palatable dressed up in a witty, relentless, satiating theatrical romp then as a history lesson.

If you can get a ticket don’t miss it.

Suzanne Sandow

Review - Bliss

A Malthouse Theatre and Belvoir Production

Bliss

By

Peter Carey

Adapted for the Stage by Tom Wright

Direction – Matthew Lutton

Cast:  Marco Chiappi, Will McDonald, Amber McMahon, Charlotte Nicdao, Susan Prior, Anna Samson, Mark Coles Smith and Toby Truslove

Set and costume Design Marg Horwell

Lighting Design – Paul Jackson

Sound Design and Composition – Stefan Gregory

Stage Manager – Kristen Marr

Merlyn Theatre

4 May – 2 June 2018

Bliss is a fascinating ‘look back’ at the heady days of abundance and hedonism in Sydney of the 1980’s through the sharp incisive writing of Peter Carey - filtered by way of the perceptions and dramaturgical skills of Tom Wright.   It is presented by an eclectic ensemble of versatile actors on a surprising set by Marg Horwell with exceptional Lighting (Paul Jackson) and Sound (Stefan Gregory) and highly polished by Direction by Matthew Lutton.  It is a lengthy, ambitious, keenly conceptualized and executed, hypnotic work that spans three hours including interval.

One assumes the text is pretty much completely drawn from Carey’s writing from the book of the same name, published in 1981 that won the Miles Franklin Award and the NSW Premier’s Literary Award. It flows eloquently and contains arresting imagery and marvelous smatterings of insight and indeed wisdom.

At the commencement of the performance Toby Truslove unassumingly breathes life into Carey’s words through his engaging stage presence and adroitly modulated voice. 

In contrast to my memory of Barry Otto’s shocked and startled Harry Joy from the 1987 film (Directed by Ray Lawrence and starring Barry Otto, Lynette Curren and Helen Jones), Truslove’s Joy seems to take the unsettling events in his stride as they unfold.

I can still hear Otto’s voice ringing in my ears and remember the film to be very lush and fecund.  By contrast although fecundity is mentioned a number of times in this work it is set on a stark empty revolving stage with a feature of a kind of glass house.  In this way it is Carey’s language that features and the actor’s characterization that resonate with sharp clarity.

Much emphasis falls on what was the thriving world of advertising and the exorbitant amount of money, alcohol, food, drugs, sex and general decadence and debauchery that went hand in hand with this bourgeoning industry.  Though I think it is fair to say this decadence was experienced in many walks of life in the 1980s.  Carey seems to be identifying, with at times, outrageous levity, some of the damage indulged in and perpetrated particularly on a personal level.

Although financially the bottom fell out of the 1980’s the relentless world of advertising is only partially losing its hold in present times.  Much of what is being examined seems to have become more pertinent and relevant today as we are belatedly trying to grapple with the concept of sustainability.

The casting of this stage version of Bliss is partially ethnicity, gender and age blind which adds to the over all charm of the flowing but rather epic story.  In fact nobody misses a beat.

Marco Chiappi excels, particularly as Alex, Harry’s partner in the advertising company, when accidentally institutionalized for insanity.

As Joy’s longsuffering, but not to be suppressed, wife Amber McMahon wows with energy commitment, vitality and vivaciousness.

Honey Barbara, a truly fascinating, strong and complex character, is richly fleshed out by Anna Samson.

Susan Prior plays a variety of roles with aplomb, flexibility, generosity and humour.

There are some issues with voice levels and actors projecting unnecessarily - as they are all wired for sound.  But hey that really is my only quibble.

An enriching adventure.

Suzanne Sandow

(For Stage Whispers)

Review - Good Muslim Boy

Malthouse Theatre Presents

Good Muslim Boy

By Osamah Sami

Adapted for the stage by  - Osama Sami and Janice Muller

Direction Janice Muller

Cast

Rodney Afif

Nicole Nabout

Osamah Sami

Set and Costume Design – Romaine Harper

Lighting Design – Ben Hughes

Sound Design and Composition – Phil Slade

Stage Manager – Jess Keepence

The Beckett

9 Feb to 11 March 2018

Personable, enigmatic star of the autobiographical film Ali’s Wedding Osamah Sami takes us on the journey of a lived memoir, from his own story Good Muslim Boy, of an almost unbelievable romp in Iran.  Well timed, beautifully underscored with sound and music (Phil Slade) on a very functional set designed by Romanie Harper three actors bring to life this gem of a ‘stranger than fiction’ narrative.    

As an especially funny story it offers a night of laughs.  The action commences with a chat to the audience that has the feel of stand-up-comedy about it and then proceeds to detail a chain of events in the form of numerous vignettes that swiftly morph – one into the other.  Osamah Sami plays himself as he battles, with characters of the bemusing and confusing Iranian bureaucracy, to bring home the body of his Father who suddenly died on a father and son holiday/personal pilgrimage to Iran.   

The opening works well.  However throughout Sami could reach out more fully to his audience and take greater advantage of the organic nature of Storytelling in live theatre.  As audience we are very keen to connect to this extremely charismatic protagonist.  If he spoke to us more fully more often it would be gratifying.

The work is particularly fascinating because the cultures of the Middle East tend to mystify us.  Since the Iranian revolution of 1979 the West could be forgiven for thinking what was once Persia is a very dangerous place.   Sami and director Janice Muller subtly imbue the action with the sense that danger could be lurking around any corner and behind any official counter.   Yet, as the story unfolds Sami courageously unswervingly follows instructions and takes massive risks, such as travelling without a passport, to succeed in his daunting quest.

As a whole Good Muslim Boy comes across as intense Iranian experience from Western eyes.  What is extraordinary is the nerve, pluck and daring Sami garners to get through the mysteries of the intense ordeal and home to Australia with his father’s body.

Rodney Afif beautifully fulfills his roles, including that of Osamah Sami’s father, with clean definition and commitment.  Nicole Nabout in her depiction of numerous characters displays exquisite versatility and is quite magic at times.  

The lighting by Ben Hughes, however, doesn’t fully support the staging.  Too often it is murky and dark and lacking variation and definition.  This could signify pollution, or be intended to enhance the pervading sense of mystery in the machinations of the treacherous series of events.   However I feel there is too much shadow.

All in all - Good Muslim Boy is a most entertaining, enlightening and enjoyable evening of theatre. 

Most enjoyable!

Suzanne Sandow

(For Stage Whispers)

Review - Blaque Showgirls

Blaque Showgirls

By Nakkiah Lui

Directed by Sarah Giles

Cast:

Molly – Emi Canavan

Chandon Connors – Elaine Connors

Ginny Jones – Bessie Holland

Kyle MacLachlan/True Love Interest – Guy Simon

Dramaturg – Declan Greene

Contributing Dramaturg – Louise Gough

Set and Costume Design - Eugueene Teh

Lighting Design – Paul Jackson

Composition and Sound Design - Jed Palmer

Merlyn Theatre – Malthouse

11November to 4 December 2016

Blaque Showgirls is a unique, timely, riveting work that is not for the faint hearted.  It is raucous, lewd, crude and ridiculously funny, politically very dodgy and out there.  Depending on one’s sensibility, it is perhaps a little destabilizing and disconcerting. 

Nakkiah Lui, who is also a writer on Black Comedy  or the ABC, writes a satire that is based in the fluid social milieu in which we live.  It plays with notions of performativity and constructs.  For example; if sex is performed and gender a construct could race also be seen as a construct.  Are all three constructs?   Have we commodified them, all three?

The whole is like a big narrative skit with loads of smaller skits that leave one with the feeling that ‘whities’ in our community will never really let minorities and particularly Aboriginal and Torres Strait Islanders reach and maintain unfettered independent agency.

It talks about exploitation and appropriation and comes to surprising conclusions. 

All performers are impressive.  As Ginny Jones, Bessie Holland, a girl on a quest to be come a Show Girl like she believed her mother once was, presents a delightful mix of girlish determination, ruthlessness and vulnerability.   She is as controlling and manipulative but innocent and righteous.

Guy Simon impresses as Kyle MacLachlan and True Love Interest.  As with his work as the title role in MTC’s recent production of Jasper Jones Simon brings clean focus and a lovely fresh energy.

Direction seems to be totally appropriate to the material.  However it needs to be said, looking at the names of the extremely accomplished production crew, it is a pity that more aboriginal creatives are not part of this team.

If you have been engaged or fascinated by or enjoying Black Comedy on the ABC this is a main stage theatre performance for you.  Or if you want to keep up to date with changing mores from a ‘black’ pen

on contemporary racial politics and the commodification of culture it is well worth catching.

Warning it is provocative - you could be offended - my plus one was.

Suzanne Sandow
(For Stage Whispers)