Review - De Stroyed

De Stroyed

Based on a number of books and writings by Simone de Beauvoir including La Femme rompue/The Woman Destroyed.

Director/Co-creator – Suzanne Chaundy

Performer/Co-creator – Jillian Murray

Video Artist – Zoe Scoglio

Composer – Christopher de Groot

Production Manager/Lighting Designer – Andy Turner

Stage Manager – Lachlan O’Connor

AV Technician – Andre Vanderwert

45 Downstairs

16 – 27^th May 2018

Jillian Murray and Suzanne Chaundy have created a beautifully refined work based on their personal responses to some of the acute realizations of Simone de Beauvoir as expressed through her writing.   The themes seem, most pertinently, about the deep pain of betrayal in a marriage and some shifts in sense of personal power and vulnerability experienced through aging.   

Video Artist Zoe Scoglio and Composer Christopher de Groot sensitively and expertly support Murray’s delivery of the text.  Through video Murray’s face is penetratingly examined again and again.  This metaphorically mirrors the way Beauvoir examined her own thoughts, emotions and understandings. 

De Stroyed is staged as a static work dependent on the beautifully modulated and very clear vocal skills of Murray and the projected images on the simple white screens that surround her.  These could be viewed as the empty white pages of a book.

De Stroyed will probably be best appreciated by audiences who have some knowledge of Beauvoir, arguably one of the most brilliant Philosophers of the 20^th century.  However my plus one thoroughly enjoyed this production as a tantalizing introduction to her writing and is now very keen to read more.

At the very least this engrossing work pays rich homage to Simone de Beauvoir and her life examined.  It offers devotees of, and those interested in, this extraordinary woman, a very fine opportunity to reflect on some of her profound and illuminating insights.

Suzanne Sandow

(For Stage Whispers)

Review - In Between Two

In Between Two

Writers/Composers - Joel Ma and James Mangohig

Director - Suzanne Chaundy

Dramaturges - William Yang and Annette Shun Wah

Visual Designer - Jean Poole

Stage/costume Designer - Euygeene The

Lighting Designer - Lucy Birkinshaw

Performers - Joel Ma and James Mangohig

Melbourne Festival and Arts Centre Melbourne. Fairfax Studio –Arts Centre Melbourne. 11 – 15 October, 2017 

It is the generosity of spirit this work is imbued with that reaches out to us all.   In Between Two is two stories of how two young ‘hip hop’ artists - Joel Ma who is half Chinese and half Pilipino James Mangohig - grew and developed into the charismatic men they are today.

The audience is kept on its toes as each story unfolds in turns, starting with the rarefied history of Joel Ma’s extraordinary Grandmother Edith.

The bighearted openhandedness of these two performers; their capacity to understand, honor and support each other’s stories with music is brilliant.  All the while visual images are projected on two background screens.

Individual narratives of eventualities, achievements, mishaps and disappointments are related with humor and insight.  Both growing boys somehow forged on regardless, even though surrounded by a hostile and unyielding racist Australian culture.

At times, family tensions and difficulties and risky transgressions of adolescence threatened to completely derail them, yet both managed to develop, grow and thrive, most particularly through their music.

Suzanne Chaundy’s direction is pitch perfect.  Everything moves at a beautiful poetic pace and there is nothing extraneous or unnecessary.  Both performers appear totally comfortable in their skins, rendering us relaxed, open and available as audience. 

William Yang and Annette Shan Wah’s dramaturgy is flawless.  Not surprisingly the extraordinary is brought to the fore but nothing is excessive or unnecessarily labored and spelt out.  The touch is light. Moments of acceptance and observation offer the opportunity to commingle with ones own understandings and fuse into something that feels like growing wisdom.

What stays with us is the sense of joy, purpose and integrity that imbue these artists with vital valuable creative spirit.

Suzanne Sandow
(For Stage Whispers)

Photographer: William Yang.

Review: Beyond the Neck: A Quartet on Loss and Violence

Beyond the Neck: A Quartet on Loss and Violence by Tom Holloway. Directed by Suzanne Chaundy. Designer – Dayna Morrissey, Lighting Designer – Richard Vabre, Sound Designer – Philip McLeod. Cast: Marcus McKenzie, Philippa Spicer, Emmaline Carroll and Roger Oakley. Red Stitch until 14 April.

  

There can be no doubt that significant courage is required to work with material as deeply disturbing as the Port Arthur Massacre. And yes perhaps “To acknowledge grief is to acknowledge love.” (Director’s program notes.)

Four actors as actors frame and, as assumed characters, re-enact in disjointed monologues form incidents, in individual lives, surrounding this profoundly traumatic event. A sense of dread and danger underlies the telling that is presented as a montage, not a narrative.

We know the basic outline of what happened at Port Arthur – it is assumed knowledge. Some would have followed it intensely and have considerable insights. Some would have been touched personally to varying degrees and some touched profoundly due to experiencing traumatic life changing events.  It is volatile material that each audience member will receive uniquely.

 

Roger Oakley, a consummate actor, shines as the Old Man. He portrays a strongly crafted archetypal character with crystal clear clarity. The Old Man, true to type, finds it extremely difficult to access his subterranean emotions. Oakley is well supported by, and supportive of, the younger cast members. Philippa Spicer presents a beautiful young wife and mother with unmitigated focus. Emmaline Carroll embraces the nuances of a petulant teenager to great effect. Marcus McKenzie valiantly bridges the difficult characters of a troubled child with an imaginary friend and the somewhat ambiguously penned character of a psychopath.

The set designed by Dayna Morrissey is stunning. With its transparent, scroll like, paintings of cliff reliefs in the foreground of a mural of the coast, and the stage areas all colours of the sea. The whole suggests dark power and timelessness. Richard Vabre’s lighting is finely tuned to enhance Ms Morrissey’s work as does the initial chilling soundscape created by Philip McLeod.

All aspects of this production meld seamlessly into a whole and towards a focused culmination that still needs some delicate fine-tuning to offer the inferred release through catharsis. As the climax is approached and themes of torture and cold blooded murder converge, the counterpoint of string music does not entirely compliment and support the rhythms and intentions of the actors. It seems to negate and distract from them, undermining their potential to affect as profoundly as they could.

This rich work has much to recommend it and on opening night was received with loud affirming enthusiasm.

Suzanne Sandow

(For Stage Whispers)