Revisiting the Nemes Crown

It’s been over two years since I began making the first Nemes crown to interest my son in Ancient Egyptian history. Since then the posts on my thoughts and process have been viewed many times more than I could have anticipated. Initially, they were getting too few views to persist with, but I did. I was entrenched in a 12 hour a day job in hospitality and believed that if I didn’t keep blogging that I’d lose whatever ground I had made with it and perhaps forget how to write. I had to publish something. Reading over them the other day I cringed. What has made them so popular?

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I ended up making two crowns as I wasn’t happy with the first and blogging about both of them. What intrigued me at the time was the difference between Tutankhamen’s crown and other King/Pharaoh’s. There was the uraeus and vulture coupling at the forehead and the ponytail at the back. I encountered many considerations in making them sit evenly:-

  • should I use a support for the fabric – as starching fabric didn’t come into use until about the 16th century CE in Europe
  • ensuring that the stripes presented correctly
  • ensuring that the shoulder lappets stood perpendicular to the face and sat on the shoulders
  • ensuring the lappets didn’t flap
  • and an unexpected one, making sure that the crown didn’t ride back.

I had to consider the possibility that the golden crown was a figurative representation of a religious idea – that the pharaoh shone golden light. The problem was in choosing a fabric – what colour should the stripes be – golden thread and applique would not come into use until the time of the Romans.

With all of these considerations, wouldn’t it all be easier if it was made out of gold? And if it was to be gold why didn’t they just bury it with him when the time came?

Two years down the track and I’m faced with another possibility. Recently there has been an announcement that the artefacts from King Tutankhmen’s tomb will be making their way Down Under in 2021. Very exciting news – more work for me. You see, if I were to take my son to see the exhibition wearing either of the Nemes Crowns that I made, he would look ridiculous. He has out grown them already. Twelve years old when I made them, he is now nearly fifteen. His age coincides with that of King Tut when he reigned. If Tutankhamen wore a linen Nemes crown then several must have been made for him over the course of his reign. I wonder whether there will be a few in the exhibition if any at all.

I hypothesized at the time that perhaps King Tut never wore a cloth Nemes Crown. As a child growing up, wouldn’t it be convenient to have an official pharaonic mask and crown that someone else could wear on ceremony for him? How awe-inspiring could a child-king be? Could this be the idea that has inspired interest in visitors to this blog?

Or could it be questions about the coupling of the vulture and uraeus. Looking at many images through Lionel Casson’s Time-Life Books, Ancient Egypt,  and confirming my suspicions with google image searches, and Pinterest searches I noticed that the vulture on his Nemes Crown only appears on his funerary artifacts – something that he couldn’t have arranged for himself. Why would his successor, Ay, have instigated this? Was it politically motivated to present a united Egypt – each animal representing a different half of Egypt? Did it have more to do with added protection for the boy-king in the afterlife?

What I’ve taken away from the exercise which saw me comparing crowns from different eras of Egyptian history is the belief that in the Old Kingdom Nemes crowns were linen and the king didn’t necessarily have to wear a uraeus. By the time of the New Kingdom –  I will believe until I get to that exhibition in 2021 – the uraeus was entrenched in the presentation of the Pharoah and his crown was made of gold.

An index to all of my Nemes Crown related posts appears at the end of the post, King Tut’s Crown: A Lapidary Jeweller’s Perspective.

My interview with History of Egypt podcaster, Dominic Perry, appears here. I was listening to this wonderful podcast while I was crafting and researching my ideas. Joyce Tydlesley’s Tutankhamen’s Curse and Carl Roebuck’s World of Ancient Times were also very informative and thought provoking.

Now my challenge is to write something just as interesting, if not more.

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Ancient, Byzantine or 70s domestic fallout

Artefacts can pop up anywhere in Greece – sometimes even digging up the back garden or snagged on a fishing line. I imagine the same can be said of many countries bordering the Mediterranean. Their earth has experienced the ebb and flow of successive civilisations. Discarded or lost, daily indispensables of yesteryear when resurfaced become mementos of a disconnected past.

Catching up with my widowed grand-aunt many, many years ago she gifted me with the fragment remains of a broken bowl. To remember my grand-uncle by, she had said. It came to him on the bank of the ancient canal in Potidea. He had this great spot there where the fish could be relied on for a meal or two. Occasionally his line brought up curiosities that weren’t edible. Take this one, she said. I thanked her for her wonderful gift and took her word that the fragment was old – αρχαίο and precious.

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Top view of my artefact

But how far a throwback is it really? Snagged in a canal built by the Ancient Macedonian King, Cassander; fortified by the Byzantine Emperor Justinian (c.482-565CE); reinforced by the then Byzantine overlord of Thessaloniki, John VII Palaioligos in the early 15th Century CE; and finally redug in the 20th Century, my memento’s hiding place has experienced the traverse of many epochs and today graces a lovely beachside town but when is it from? Questions.

What can be gleaned from just looking at it?

So, I’m of the mind that any pre-existing style can be copied by later generations. I needed to find the earliest possible example of its style to limit how old it could be but not forgetting that its style could have been copied as lately as yesterday.

Fragment showing foot of the fragment.


Fragment showing foot of the fragment.

It’s made from a red clay. It has an incised design etched into its surface that is brown among larger planes of highly glazed ochre/mustard. The design is floral displaying rosettes/spirals and leaves arranged in a cross pattern with arcs opening away from the central motif. I suspect that it’s a repeating pattern but the entire motif is lost. Its most striking curiosity is that it’s glazed only on the inside. The outside of the bowl is both undecorated and unglazed.

Its earthy tones remind me of dinnerware from the 1970s – but they were glazed inside and out. The lack of an outside glaze would be frowned upon by a modern day housekeeper. Fine as an ornament for dusting, how many cycles in the dishwasher could it go without cracking or discolouring? And if not the dishwasher – how well would the outside of it clean after being stacked on top of other such bowls with the curried remains of dinner potently leaving their mark? With modern-day obsessions with hygiene and high standards of cleanliness, unless it was made for decoration I think it must be genuinely old.

Under side of my ceramic fragment. Red earthen ware with no glaze on the exterior of the bowl and no makers mark.
Under side of my ceramic fragment. Red earthen ware with no glaze on the exterior of the bowl and no makers mark.

Beneath the foot there is no,”Made in China” sticker attached with super adherent. Nor is there a country of origin, Greece, Hellas or anywhere else stamped and baked into the ceramic foot. Nor is there any monogram or maker’s mark as are on other byzantine ceramic fragments on display at the Istanbul Archaeology Museum.

It doesn’t look Ancient Greek and its patterning isn’t intricate nor colourful enough to bring Ottoman Iznik ceramics to mind.  So I targeted Byzantine ceramics for my search. The design looks like sgraffito, a technique used by Byzantine potters but its colour is baffling. The majority of sgraffito Byzantine bowls and plates I found on pinterest had a cream background with splashes of green and yellow pigment.

Finally something caught my eye. The reminiscent but unbroken bowl is owned by the Victoria and Albert Museum in London and is described thus on Pinterest:

Red earthenware covered with a white slip with incised decoration of five gyrating bands within a medallion under a yellow glaze.  Found in a tomb at Kertch in the Crimea. Byzantine (Probably Crimea) 12th – 13th Century. Museum Number 141-1908

How does a bowl from the Crimea turn up in Northern Greece? Could a trade vessel have gone down the Bosporus through the Dardanelles, the Thracian Sea and thence to Thessaloniki dropping its load or some of it in the canal? But why would a foreign vessel pass so close to the mainland? According to Wikipedia, Russian and Serbian Orthodox Monks/Scribes moved to the nearby holy mountain, Mt Athos, in the 1070s AD – a reason to be carrying Crimean crockery so close to Potidea?

The Victoria and Albert Museum have other examples of Byzanitine sgraffito worked bowls with this colouring that hail from Constantinople in the 12th – 14th centuries. They can be seen here (13th-14th C) and here (12th-13th C). Perhaps it isn’t so old and exotic as the Crimea, 1000 years ago. Perhaps it is only 800 years old and from Constantinople? Looking further across Pinterest I came across this look of ceramic made in Thessaloniki in the 14th century, pinned from the British Museum’s Byzantine Legacy collection.

Where and when and by whom was it made?

I’m satisfied that it’s style is probably Byzantine from sometime between and including the 12th-14th Centuries. Of course it may have been made anytime after that, copying the older style. It looks closest to the Crimean bowl in colour, texture and etching style so although Constantinople and Thessaloniki are closer in proximity to Potidea where it was found, I can’t help thinking of it as Crimean. The fact that it doesn’t bare a monogram hints that it may not have been thrown in a renowned ceramics workshop. It was made for daily use by the Byzantine everyman.

Whether it is just a 70s recreation or truly is a piece of medieval crockery I’m really pleased to have it. When next I’m in Greece, I might have to make the time to go fishing in Potidea. I may just snag myself another mystery – no crock.

My Pinterest enquiry:

https://www.pinterest.com.au/craftytheatre/ancientmedievalbyzantine-pottery/

Review: Snoopy!!! The Musical

This review appears in the St George and Sutherland Shire Leader.

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Snoopy, The Musical opened at the Sutherland Memorial School of the Arts, June 15. Starring Nathan Farrow as Snoopy, Louis Vinciguerra as Charlie Brown and Lexi Hutchinson as Lucy

Peanuts! Get your peanuts! Peanuts and Hot Dogs, er, Hot Dog, er – make that Cool Beagle, the coolest beagle, Snoopy!!! Miranda Musical Society are reaching out to Peanuts fans with their latest musical. The Sunday comic strip comes to life with larger than life performances from its all-singing, all-dancing cast.

It’s been awhile since the beloved gang have featured in weekly print. And long gone are the years where a major holiday didn’t go unmarked by a Snoopy movie on TV . Remember the Great Pumpkin and the Easter Beagle? It didn’t matter your age, it seemed that there was always something to engage every member of the family. But that was a while ago. How does Snoopy!!! stack up today?

Leaving aside preconceptions and treating the plot – or more correctly series of comic strip stories – as that of a loosely strung together overview of the lives of a group of primary school kids, what do we have?

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Paul Tuohy as the blanket carrying, thumb sucking peanut, Linus.

Portrayed by a cast too young to have been inundated with Snoopy comics, cartoons and plush toys, the talented cast do an admirable job. If something of nuance is lacking it’s made up for in vitality and energy. The pace of the show skips along. There is never a quiet moment yet Louis Vinciguerra’s poignant portrayal of Charlie Brown comes across through all the clamber of the Peanut’s troupe’s emotions. If Charlie Brown’s losing to Snoopy and  his life situations has been taken for granted for generations, it isn’t in this production.

Snoopy!!! has a talented cast of singer-dancer-actors. Nathan Farrow as Snoopy oozes cool with his affected nonchalance. Alexis Hutchison as Lucy and Tamana Rita as Sally Brown are bounding bubbles of exuberance. Paul Tuohy’s lovable Linus engages the audience. Jess Punch lays out Peppermint Patty’s sensitivity and offers it to you as she looks you and Charlie Brown in the eye. But if there is anyone to fear who may steal the show, it has to be Blake Bennett as Woodstock. His portrayal is part clown, part mime, all joy.

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Jess punch as Peppermint Patty minus the iconic auburn hair and baseball cap

Filling the orchestra pit is an ensemble of percussionists, keyboards and guitars. This is a live show. Musical Director, Adam Foster and Choreographer, Madison Larsen have helped create a rich offering. Erin Macbeth’s costumes help distinguish the characters immediately, despite their head styling. Bob Peet’s set design is a mash-up of comic art, Charles Schulz’s iconic dog-house and those generic Playschool cubes. Comic images light up the backcloth and the whitewashed wings cleverly reset a scene with a new flood of bright colour in Loki McCorquordale’s complementing lighting design.

Will today’s kids like it? They may not recognise the characters. Punning, Snoopy in-jokes and 20th Century references may go over their heads. What will appeal to tweens and up is the song, dance and humour. Essentially what kids (and adults) need doesn’t change. What made Snoopy popular in the first place was the ability of the Peanuts gang to reach out with their stories. Tim Dennis’ production does this with panache.

Snoopy!!! is playing at the Sutherland Memorial School of Arts, just across the road from Sutherland train station and commuter carpark, until June 24. Tickets are available online

How ancient is αρχαιο ?

Aρχαιο is a word bandied about in Greece a lot. I don’t mean by historians or archaeologists but by the lay person  It’s a glamorous word. It’s impressive and esoteric and marks a place, statue or artefact as important. Technically it means ancient but does it always mean Ancient Greece?

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Tower ruin outside Olinthos – it’s ancient, or is it?

Greece has a very long history of habitation by people expressing different cultures: pagan, Christian, Muslim.  Wherever you visit, if you indulge the locals they will regale you with stories about their place’s monuments, topography, churches, ruins etc. Not all of the ruins are well documented. Their history may be filed away in an archive somewhere with nary a signpost to explain why a tumbled down tower has been allowed to stand. A local yarn may be as good as you’ll get.

Chalkidiki in northern Greece has many towers I’m told. On the road to the αρχαιο, yes-if-really-is ancient, archaeological site at Olinthos stands the recalcitrant ruins of a tower. I’m told that it’s αρχαιο.

I’m also told that once upon a time it was the lookout tower for Olinthos. Sentries would be posted atop to watch the sea for pirates or foreign invaders. Sounds convincing? Hmm… I found no mention of it in all of the information on display at the archaeological site. Maybe it’s not that much, αρχαιο?

I’m told that, once upon another time when a polis was being attacked, the queen was spirited away through a subterranean tunnel system that ran from the city to the coast via this tower. But which queen, in which era? And how long was the tunnel system? Was Olinthos the starting point or was a settlement further inland? And did the tunnel reach the tower all the way at Nea Fokeas?

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Tower overlooking Nea Fokeas, Chalkidiki – is it ancient? byzantine?

Did you know that it’s said that one αρχαιο king actually buried his treasure beneath one of the towers? Truly, what I’m telling you sounds a little far fetched even to me, especially when you consider that night, that summer, when Johnny was coming back from the club and came off his motorbike right through that lower window. Johnny said that the tower was full of hard dirt – his head can testify to that. No treasure, no tunnel. Local lore needs to satisfy the ever expectant tourist.

If the locals can speculate, why not I? So…if you were to light a beacon on the battlements of the tower at Nea Fokeas could a sentry atop the Olinthos Tower see it? And if not Olinthos what about that Byzantine ruin in the beach at Potidea? And from Olinthos could it be seen further inland by Galatista? Could these towers have been part of a beacon relay from Thessaloniki to Constantinople?

Leo the Mathematician (c.790-869CE) was said to have developed the beacon system that spanned Asia Minor from Constantinople to the Cilician Gates and warned the capital of an invasion within an hour of its sighting. Leo was the Metropolitan of Thessaloniki between 840-843 CE – why wouldn’t he instigate a warning system for his city, the second city of the Empire? Theassaloniki does have that old, dare I say αρχαιο, iconic White Tower – what more could it be appropriate for? Could all of these towers be that old? Where are the other towers in Chalkidiki?

When in doubt consult the internet.  The White Tower of Thessaloniki is an Ottoman construction over the site of a Byzantine tower mentioned in medieval literature. The tower at Olinthos is the Tower of Mariana and displays a cross in the configuration of its brickwork, on its far side. And it’s Byzantine. No mention of who Mariana was, if she was a queen, when she lived nor whether she had to escape a siege through a tunnel. As it stands it was built in 1374 – too late for Leo.

The tower at Nea Fokeas is also Byzantine, St Paul’s, after the monastery complex on which it stands . It also overlooks the sea. Did St Paul visit it? When was it built? Is it connected by subterranean passage or merely styling to Mariana’s Tower? Built originally in 1407, it too, is too late to be from Leo.

The ruins in the beach at Potidea may or may not be part of Byzantine fortifications built in 1407 by Ioannis VII Palaiologos – the same year as St Paul’s! The other tower further inland at Galatista is also Byzantine. Together, could they all have been part of a later warning system?

Speculation, hearsay and local lore – heart warming hearth stories feeding the need of history devouring holiday-makers! They should probably be taken with a draught of ale, mug of hot chocolate or dragged out slowly overlooking an Aegean beach with a bottomless frappe on the table.

Occasionally local traditions can inform history. Have you heard the one about baklava?

Top 9 Reasons 2 go C Community Theatre

1. It’s catered to its audience

Many community theatre groups have been around long enough to know their prospective audiences. They can fairly well judge what their audience will enjoy and choose plays to meet those expectations.

2. It’s close to home

Transport is a no brainer. Parking is free or at least cheaper in the suburbs.

And there may be a nugget or two in the offering – you may recognise your local waiter, butcher, sales consultant shining before the footlights. There is so much more to people than meets the eye.

3. Deals with community issues

It’s a potent way of increasing visibility of an issue that may effect a community, be it local gov’t plans to remove a much beloved women’s rest centre to make way for private enterprise, or the benefits that await the suffering in the National Disability Insurance Scheme, for example.

The performances may be offered by pop-up, interest-focussed groups or well known local theatrical societies. They have the power to emotionally engage and mobilise the community. Their audiences are often already invested in the concern because of geography, common interests and/ or ethnic/social backgrounds.

4. Good production values

Theirs is not the cash-and-resources strapped high school production. Imagine colourful sets, imaginative costumes and evocative lighting. Suburban companies exist and maintain themselves with fees paid by constituent members as well as box office receipts. Their takings go back into their shows and so can offer impressive looking productions.

5. It’s the stomping ground for professional actors keeping their skills up between paid gigs.

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Snoopy, The Musical opens at the Sutherland Memorial School of the Arts, June 15. Starring Nathan Farrow as Snoopy, Louis Vinciguerra as Charlie Brown and Lexi Hutchinson as Lucy

6. Often you can take even the younger members of the family

It’s a great environment to introduce the younger members of the family to live theatre. It’s too easy for the more senior family due to it’s easier access re, locale and price.

7. Tickets are cheaper than commercial theatre’s in the city. So its easy to make it a big night out more often.

Often dinner-and-a-show deals are arranged by the theatre with restaurants nearby.

8. A variety of stories and storytelling techniques are offered that you just don’t get with digital media.

Think musicals, theatre sports, improvisational and interactive storytelling.

9. Community theatre companies often offer acting courses for their members. Auditioning and getting a role in their big productions helps expand the experience of their budding thespians.

So what are you doing sitting there looking at this screen for? It’s time to see some theatre. Go on, book something.

I know where I’m going this weekend, to see Snoopy! What will you be seeing?

Cranky Ladies of History

Cranky Ladies of History! read, Cathartic Ladies of History. Fablecroft Publishing, you’ve got my attention. Short stories, little windows into the living rooms of history; whose sill should I perch on first? Eleanor of Aquitaine? Elizabeth I? Hildegard of Bingen? Mary Wollstonecraft? Empress Theodora… Hatshepsut!

Hatshepsut, the queen who ruled Egypt as a man. The glorious queen until her newphew/step-son obliterated her memory. Damnatio memoriae! That’s something to be cranky about… after she was dead. Will the story focus on her relationship with her newphew – or her brother whose rule she gave legitimacy to? Or something else entirely? I’m too familiar with her life, what if the story disappoints?

I fan across the edges of the near-shut book. There’s Lady Godiva, Mary Wollstonecraft, Mary Tudor and exotic names I haven’t heard of before; women from the Middle East, Asia and Scandinavia that are equally intriguing for being made peers in this anthology.

There are so many names, so many women to choose from. Which to read first? The contents page further confuses matters. The authors – some names are familiar, most are not. Not that, that’s a deterrent.

Where’s Hatshepsut again? In the middle, Neter Nefer. Will the story talk of her possible romantic relationship with Senenmut and his fall from grace? Their alleged child together? What if nothing I can relate to is dealt with? I fan the pages again.

What of Theodora, the beloved wife of Emperor Justinian? He changed the law so that he could marry this burlesque dancer, come actress, come prostitute and make her Empress. Resplendent in pearls and jewels she remains an enigma. Was her influence really the cause of all that was bad in the Byzantine Empire? Her charitable work and religious devotion don’t add up to our modern, cliched way of seeing women. Who was she really? With the scurrilous recounts of her life by “Saint” Procopius doing her no justice, there is satisfaction in Barbara Robson’s portrayal of Theodora getting some of her own back at him.

Fitting a life into a short story is a tall order. How do you make sense of a lifetime, the journey of a soul and its many transformations in a few thousand words? Do you choose a defining moment? Or do a general sweep? And if you did the sweep how effectively could the reader be entangled? In Theodora I’ve been inspired to look for her long form biography.

I wonder if I’ll be doing the same after Hatshepsut…

In this anthology, different approaches are taken by the various contributors with varying success. When it comes to dealing with famous people whom we have a pre-existing bond to, any changes that may threaten the veracity of our investment isn’t going to be received well. Ditto for well known and loved stories. If you’re going to muck around with a legend or myth you had better improve the experience or risk disappointment. The legend of Lady Godiva, her naked ride through Coventry and the peril of Peeping Tom would seem to be in the category – you can’t touch this. But then there’s Garth Nix. Not only does he play with the story, his uplifting adaptation will stay with you long after you have finished it. It celebrates women’s strength in their solidarity, their sisterhood.

Writing speculative fiction really lends itself to the short story format. History doesn’t shackle the narrative. It’s easier to make a pithy point or shape a savvy parable when your imagination is unbounded. There are quite a few stories with speculative elements and they are enchanting but the quirkiest tale of the lot is set in the early 20th Century, in Brisbane. The charm of Sylvia Kelso’s cantankerous lady doctor Lillian and her madcap flights to the rescue will leave you smiling long after you have finished reading Due Care and Attention. I’m smiling now.

In writing a biography or historic fiction the author takes on a burden of conscience. Will their story resonate the truth? Would their interpretation be approved by their protagonist? I’d like to think that Hildegard of Bingen would have of Juliet Marillier’s Hallowed Ground. The story shows the saint’s devotion to her work, her god and living a life of humility. It shows her honesty and her strength in terms of her vocation and the society and times in which she lived.

There is a lot of variety in this anthology. It has an international feel. There are many different women to meet and diverse cultures to experience as a strong female. It’s been a thoroughly enjoyable read. If there were to be a Crankier Ladies of History, I’d be looking forward to reading that one too.

And Hatshepsut…well, you’ll have to buy the book!

What’s in a good review?

When I was younger I’d get all excited about a new movie or show opening. I’d open the papers to look for the reviews with bated breath. I wanted the show to be well reviewed but I was anxious that I wouldn’t enjoy it if it was. I was aware of a gap between what the reviewers appreciated and what I did. If they liked it too much would it be hard work, you know, slow and atmospheric, or bizarre and inexplicable? Would a good review make me feel uncultured or ignorant if I didn’t get it? Conversely, if they didn’t like it and I did, I was made to feel the same way. What’s wrong with melodrama anyway?

Proedria, reserved seating for officials and priests

Ancient audience

 

After doing a few reviews more than usual this year, I’ve come to believe that a good reviewer needs to talk to the prospective audience of the show. Who are they? Will they like it? Is it appropriate to all members of a target group or family or non-targeted audience member?

Where and by who the production has been staged should influence how the performance is judged. An inner-city boutique theatre will have nuanced choices of material it stages and appeal to a particular market. Suburban, community theatre’s will select different stories with a wider appeal. Each offering should be judged on its own parameters.

If the performance is well-subsidized and offered by trained professionals then more can be expected from its production values. If the performers are drama students learning the ropes there is a different expectation – a greater responsibility is invested with the director.

The reviewer also needs to look towards the playwright. Has the director achieved the intensions of the story? Is the story relevant? If it’s a classic play, has the production touched its modern audience? Has it reached across time and given the audience an understanding of the past that resonates today?

The budget of the performance will dictate set, sound and costume design. How these challenges are met can influence the telling of the story. The decision to have a bare set because the actors, a pretty costume, a prop or two and a good script should stand on their own doesn’t always work. Really good actors, well practised in their craft can make this look easy, but it’s not. Sometimes borrowing lavish costumes that set a particular time or reality but restrict movement – so that they remain pristine – isn’t a good choice. A bare set highlights the oft asked question – what should I do with my hands? and where to stand without devolving into a tableau of talking heads.

The aim of the performance is to immerse the audience in the reality of the story. All of the elements of staging  – performers, the stage, set, costumes, props, sound design and lighting should support that reality.

The actor is crucial. Every performer no matter how big or small their role is, is crucial to creating and maintaining the theatrical illusion. How they all interact with each other – listen to each other before reacting or responding, reinforces the world of the play. If they get up from one side of the stage and walk to the other mid speech – what are they responding to? what is their motivation? Can we see what’s going on in their head? Do we as audience members feel their agitation? Or are we wondering what the actor forgot? A big pitfall, oft stated is putting on an accent or a disability. Nothing breaks the illusion than an accent that is dropped and picked up and dropped throughout the play. Maintaining an altered state over the course of a performance is really difficult.

As a reviewer it can be difficult knowing how far to delve into criticism. A play is a good one if its target audience enjoyed it. It’s a really good one if it realises the intent of the playwright as well. It’s a great one if it does this and ticks all of the production value boxes.

So what is a good review? Like a good play, a good review will talk to the play’s audience. One that can predict the enjoyment and/or edification of the target audience.

 

 

 

Shakespeare in the Abbey

Spontaneous Shakespeare in an Abbey in Sydney? or through The Rocks plaza or in Hyde Park? or Martin Place? Wouldn’t it be wonderful to experience Shakespeare like Shakespeare in the Abbey!

Reviews From The Gods

Date: Saturday 28th April 2018, 8:30pm

Director: Sarah Bedi

Price: £27 (using Friend of Globe discount, would be £37 without)

A truly individual experience. Every audience member leaves this event with a different experience and set of memories to anyone else.

I first attended this event last year as a Steward. No one knew what to expect, there was not a lot of information about the format of the performance or the actors involved. The experience turned out to be one of the most magical I have ever had, so when I saw they were running the event again this year I knew I had to go. Luckily, my friend Sarah and I had jointly purchased a Globe membership as we knew this season would have many events we would want to attend outside of our stewarding allowances.

We queued outside the Abbey for about 15 minutes, perusing a map…

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Review: A Midsummer Night’s Dream

Guild Theatre Limited, Walz St, Rockdale
www.guildtheatre.com.au
Director: Susan Stapleton
18 May-9 June
Didn’t get an invite to the royal wedding? Couldn’t hobnob it with English aristocrats? Lost the chance to eavesdrop in the forest of their hidden desires? Missed coochie-cooing at fairy imps in floral finery? No fear, King Theseus & Hippolyta will be repeating their nuptials over and again at the Guild Theatre, Rockdale, until June 9. And you’re most welcome.

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Oberon and Puck conspire to humiliate Titania with Bottom in his ass-ears – centre Oberon (Haki Pepo Olu Crisden) and from left to right, Puck (Rosemary Ghazi), Titania (Donna Randall) and Bottom (Russell Godwin) Photo courtesy: Susan Stapleton

 

Shakespeare’s best known comedy is about love found, love lost, love fought for, and love renewed. With his own wedding looming, King Theseus is called upon to arbitrate a dispute between Hermia and her father over her refusal to marry Demetrius: for she loves Lysander and he, her. But Demetrius won’t give her up. Helena, only recently cast off by Demetrius, will betray her childhood friend to get him back. Faced with an impossible choice Hermia and Lysander run away to an Athenian wood. Demetrius follows hotly on their heels and Helena on his.

Under cover of night the fairy realm awakes and watches. Elven King Oberon charges his mischievous imp, Puck, with administering a love potion to Demetrius to re-invigorate his love for Helena. While he’s at it, they even a score with Oberon’s fairy queen, Titania. She is made to faun over the first dolt she sees – Bottom, the would-be actor. Over-eager Puck mistakes Lysander for Demetrius and midsummer mayhem ensues.

Shakespeare challenges directors and designers of AMSND by mixing up mythical realms of England, Medieval Europe, Greece and Rome. Theseus and Hippolyta are clearly Ancient Greek while Roman gods Cupid and Venus step back for the real love brokers, the medieval elf, Oberon, and English folklore’s, Robin Goodfellow, aka Puck. Which world is it? As the supernatural world is shown through an Elizabethan lens, Director Sue Stapleton sets it in Tudor England.

It’s a beautiful production. Stapleton makes good use of the creative talents of Costume Designer Leone Sharp, Set Designers Jim Searle and David Pointon, and Lighting Designers Roger Hind and Ruth Lowry. Tall trunks rise from dense low foliage lending depth to the stage and projected shadows of branches and camouflage extend the world of the stage into the aisles of the auditorium. Costumes are lavish. Elaborate headpieces of bone, feather and foliage created by Jodi Burns give a nod to popular images of Celtic goddesses and the Green Man.

The tone of the performance is set early by Kim Jones’ feisty Hermia. Her energy and passion are carried on in Rachael Howard’s Helena. Neither are biddable Elizabethan gentlewomen. Rather they’re rebellious, shrewish, smart and strong, modern women. It works. Rosemary Ghazi delights as the incorrigible mischief-maker, Puck. Despite the crowd-pleasing, ham acting in the play within the play, Calib James’ big but disciplined interpretation of Thisbe shone through. He’s an actor to look out for. Overall, AMSND can boast good performances from its ensemble cast.

A comedy with plenty of colour, fairies, romance, clear annunciation, and the crowd-pleasing play within the play, make this a very easy introduction to Shakespeare for young theatre goers. This is the Guild Theatre of Rockdale’s first offering of Shakespeare since 1979. It’s charming. Hopefully they will revisit the Bard a lot more regularly. Tickets are $25/$20. Bookings ph: 9521 6358.

This blogpost was first published as an article in the St George and Sutherland Shire Leader

 

Theatre Review: Coup de Grace

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James Phipps (Jimmy), Bill Ayres (Boniface), William Jordan (Oscar), Indianna Dimmer (Hailey), Margareta Moir (Grace) and Luke Austin(Adam). Photo: Port Hacking Camera Club

Arts Theatre Cronulla, May 11 – June 16
Director: Tom Richards
Cast: Margareta Moir, James Phipps, Luke Austin, William Jordan, Indianna Dimmer and Bill Ayres

You can depend on Arts Theatre Cronulla to deliver a good night out. You can expect Tom Richard’s seasoned direction to bring a comedy off the page. And from internationally successful British playwright, Robin Hawdon, you can demand laughter. They have all delivered in the Australian premiere of Hawdon’s latest offering, Coup de Grace.

Coup de Grace is a comfortable situation comedy in the vein of 70’s produced British TV sitcoms. It’s not biting satire. It doesn’t set out to change the world, your morals or set you on a path to revolution. It’s a farce, a delightful farce. It’s comedy as the means and the end in itself.

Poor unsuspecting cat burglar, Jimmy, steals into the hotel room of movie star Grace Gervais (Margareta Moir). Her lifeless body lies partially covered on the sofa. Her lover, Adam, enters and mistakes Jimmy for her cuckolded husband. In Adam’s mind that makes him guilty. Jimmy tries to exonerate himself when her real husband, Oscar, walks in on them both. Oscar is quite happy to be misconstrued as her manager. Suddenly, Grace makes a miraculous recovery and then . . . proceeds to play along with her husband’s ruse. Sound chaotic? Set it at the Cannes Film Festival, add a stolen diamond necklace, Oscar’s ditsy, French secretary, gunshots, poison and a hotel manager who thinks he’s Hercule Poirot and you have a riotous night at the theatre.

With so much happening, so quickly, the story is set up in the first half with a hasty pace. Bill Ayers’ measured portrayal of the Hotel manager helps to ground the characters and anchor the plot. His comic timing is spot on. He spoofs Agatha Christie’s iconic detective’s accent, manner and pronunciation to hilarious effect. Margareta Moir’s portrayal of the histrionic diva fittingly fills the stage. Her investment in the improbable reality she projects on the other characters and their easy acceptance of it buoys the plot.

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The Hollywood diva, Grace Gervais (Margareta Moir) the victim, victimising. Photo: Port Hacking Camera Club

 

Hawdon’s convoluted plot lines are all deceptions. Like an episode of Seinfeld, very little actually happens. The story is built on the perceptions and assumptions the characters make of each other. Accusations move the plot along. Grace thrives on drama both on and off the screen. She would live the life of the tabloids and holds them all in thrall as she works through her suspicions. Her husband knows it and plays along. The plot works because they all want to believe the illusion that keeps their secrets safe. The only ones that can see the truth are the audience and we laugh at the lot of them.
Hawdon’s latest play is sure to be another winner. His cleverly constructed plot weaves its magic without resort to crude language nor lewd staging. Word play and innuendo are peppered throughout a performance that raises chuckles and not eyebrows. It’s a show that the whole family will enjoy.

Coup de Grace is playing at the newly refurbished Arts Theatre Cronulla from 11th May – 16th June. Bookings ph: 9523 2779 www.artstheatrecronulla.com.au