Tearing Down the Fourth Wall

Pushing Up Daisies vs A Comedy of Errors

“O! I’m going to the theatre, Darling. The cinema is sooo plebeian. Mink or Chinchilla to guard against the cold?”

Nauseating!

“It’s a Brechtian interpretation. Perfect for my essay on comparative approaches to theatrical storytelling on the early 20th Century Stage.”

Alienating!

“Ohh, goody, there’s a hearing loop in the auditorium!”

Tragicomedy!

“Chookas, Sweetie. I’ll be in the fifth row, towards stage left.”

Familial, fidelity.

“How could he be cast over me?????”

No Comment.

The demountable Pop-Up Globe at the Entertainment Quarter, formerly Fox Studios, Sydney.

The demountable Pop-Up Globe at the Entertainment Quarter, formerly Fox Studios, Sydney.

 

Theatre audiences haven’t always fallen into such broad categories. Look around an auditorium and you will see a refined bunch of people with seemingly singular taste. But they’re a small umbrella group. Of course, I’m not referring to the big musicals that seem to break out and draw people in – crossing boundaries of wealth, sub-cultural fixations and education, and beyond the community of theatre practitioners who love and support the craft and each other.

Spending two to five times as much as the price of going to the footy to see a drama or an opera, can be an edifying, fulfilling experience but it won’t provoke the same audience response and loud catharsis that the footy can. Oops! Isn’t the theatre supposed to be cathartic? Hasn’t that old Greek word entered the English language to describe what goes on in your heart when theatre is at its best? When it lifts you, makes you see yourself and realise that you have changed or can change or that somehow life can be better?

Catharsis in the theatre is a very personal thing. It quietly slips down your cheek when no one is watching.  It wasn’t always the case. In Shakespeare’s day it was caterwauled at the performers, its heckling parleyed back and forth between the auditorium and the stage along with a barrage of soft tomatoes, and it could take to the streets in insurrection.

I don’t think you have to go so far back as Shakespeare to find audiences so engaged with performances – perhaps only back to just before the advent of television. When theatre was the only choice of dramatic storytelling for all.

In modern presentations of plays directors and their troupes try to instigate some of that interaction.

Shakespeare wrote the asides, as if they were improvised, to address his audience directly into his texts. At the Pop-Up Globe the performers run through the groundlings’ standing pit, and the stalls. They invite the audience to photograph them mid performance; they hurl fruit into the audience and lewd staging is used to raise laughs and lower everyone’s inhibitions. The twenty-first century audience smiles in appreciation of their nod to historical performance peccadillos and laugh too, but say nothing in response.

The Cast of Pushing Up Daisies aka Ta Radikia Anapoda (Hellenic Art Theatre)

The Cast of Pushing Up Daisies aka Ta Radikia Anapoda (Hellenic Art Theatre)

What would happen if the audience did respond? and as often as they were invited to and, when they weren’t invited.

Over the past week I have attended two very different productions. Both were comedies. The first was Shakespeare’s classic, A Comedy of Errors in the Pop-Up Globe and the other was Pushing Up Daisies or Τα Ραδικια Αναποδα, by the Hellenic Art Theatre. In the first production, the ensemble dared the audience to interact. In the second, they had to deal with it as a matter of course.

How to cook with no ingredients - feeding the hungry in Athens with the Chef (Nick Tsioukanis)

How to cook with no ingredients – feeding the hungry in Athens with the Chef (Nick Tsioukanis)

Τα Ραδικια Αναποδα, by Γιωρου Γαλιτη,  under the direction of Stavros Economidis satirises stereotypes found in modern day Athenian society. It does this by a series of monologues presented as eulogies to the newly departed. Each eulogy is honest rather than diplomatic and more revealing about the living than the dead. Among the different types we hear from is a thief, a bishop, a socialite, a politician, a surgeon and, poignantly, a chef (Nick Tsioukanis) who advises how to cook for life under the austerity measures imposed on Greece in the wake of the economic crisis.

The stage is bare, dressed with only two coffins, diagonally pointing into centre stage. Each monologue is delivered between these two coffins beginning with the personification of death himself.

The nature of monologues is to be addressed to the audience directly as much if not more than the stage environment. Conventionally, the audience sits up and listens closer. In this production the audience is alert and engaged from the get go. As Death enters and requests mobile phones be switched off, the pre-show chatter is diverted and acknowledges his request. Chatter isn’t entirely quelled and remarks fly on every entrance by a subsequent performer.

The Metropolitan (John Daviskas) eulogizing the assets of the holy departed.

The Metropolitan (John Daviskas) eulogizing the assets of the holy departed.

“Ah, here she is! It’s Evelyn.”

“Hmm, Stavros has lost weight.”

It’s clear there is a familiarity between the performers and their audience that has been accumulating over years of offering and attendance.

When each eulogy begins with an address to the deceased, someone has to voice the audience concerns that the latest performer has made a mistake. Clearly the dead man was named for someone else.

“Get it right, it’s so-and-so in that coffin.”

“No. It’s supposed to be a different person, now.”

As each monologue is given, audience members comment and add short anecdotes among themselves. It’s clear and loud that they can relate. Occasionally the performers were heckled within the context of the character that they were presenting.

Without even having to try, the fourth wall is down. Why did the Pop-Up Globe troupe have to put such an effort? Could it be that the answer lies with the audience?

The widow

The Widow (Evelyn Tsavales)

I’m apt to hypothesize that a lot has to do with the fact that the Hellenic Art Theatre have a relationship with their audience that spans many decades. There is a familiarity of faces across the fourth wall and also between the pews of the auditorium. They are not the disconnected group that attend the larger commercial theatres of the city. They share the migrant experience that binds them whether its mink on the shoulders or uni books in the backpack or personal connections to the company. There is security in this familiarity.  It’s something that I’m betting this audience shares with that of the audiences at the Globe in the age of Elizabeth and James. Then, there was the homogenous experience of being citizens of London who waited for the theatre for their drama where for decades HA Theatre’s audience waited for HA Theatre to be the sole provider of theirs.

A lot has to do with the comedy as well. When they offer Euripides’ tragedy, The Trojan Women later in the year, I can’t imagine that there’ll be heckling.

With such an abundance of audience banter – how do the performers deal with it?

The General

The General (Stavros Economidis)

It would take a seasoned performer with the resilience of a street performer or swift repartee of a stand-up comedian to take it all in stride and keep the momentum of the written text going. That’s how I imagine the King’s Men, Shakespeare’s company, to have been like. The exercise of the same members of the ensemble, play after play in front of a familiar audience would insite asides, heckling and banter that Shakespeare never recorded.

The cast of the Hellenic Art Theatre take it all in stride and offer a very enjoyable night at the theatre.

Pushing Up Daisies or Τα Ραδικια Αναποδα is playing at the Mantouridion Greek Theatre at the Addison Rd Community Complex in Marrickville until 30th September. English surtitles are projected throughout the performance. Bookings: www.hellenicarttheatre.com.au

The Pop-Up Globe is offering Shakespeare in Moore Park from this September and October.

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Review: Tales of Hoffmann

Rockdale Opera Company

August 18-26, 2018, Rockdale Town Hall

Musical Director: Luke Spicer

Director: David Brennan

Looking for a good night out? Boo! Did I scare you? No? How ’bout…”OPERA!!!!” Scared now? What about, “Ernest Theodor Amadeus Hoffmann!” Yes? Edgar Allan Poe, better? No? Hoffmann is scarier – his stories have been operatically realised by the great romantic composer, Jacques Offenbach.

Okay, “OPERA! HOFFMANN! OFFENBACH!” Now you’ve got to be scared!

Mention a good night out and most people won’t immediately think of the Opera. It’s that thing that happens in that funny looking building on the Harbour. It’s performed in a foreign language. It’s expensive. Everyone speaks with an apple in their mouth and they’re just the audience. And the sound is…different – sonorous singing complementing a rich instrumental accompaniment – not the usual demonstrative rapping or tuneful skipping out of lyrics meant to be bopped to. It’s decidedly not pedestrian and not easily accessible.

Olympia (Camilla Wright) and Spalanzani (Michael Handy), image courtesy Heymish PR

Olympia (Camilla Wright) and Spalanzani (Michael Handy), image courtesy Oscar Smith

But what if it was? What if it were in English and each act opened with a dramatic introduction setting the scene about to be sung? What if it was offered in suburban Rockdale, with plenty of free-parking and easy public transport? What if Musical Director, Luke Spicer, presented a superb orchestra to uplift highly trained and talented singers? What if the Director brought with him the experience of years as a principal at Opera Australia as David Brennan has? What if the core of the Rockdale Town Hall resonated with the song of disparate lyrical organs expressing their joy in concert with each other, in concert with Offenbach?

It would be a shame to miss it.

The Rockdale Opera Company’s, Tales of Hoffmann, offers all of this. If you haven’t experienced opera before, this production is all too easy. An act by act synopsis is offered in the programme and just enough time and ample lighting to comfortably read it in the scene changes. Adjusting your ear to the style of singing may take a few moments – like accustoming yourself to Shakespearean English –  but it’s worth it.

Benjamin Oxley as Hoffmann, image courtesy Heymish PR

Benjamin Oxley as Hoffmann, image courtesy Oscar Smith

The poet, Hoffmann, walked away from his creative muse to pursue love with disastrous and macabre results. Three of his exploits detail his bizarre infatuations: with a life-size, battery-operated doll; a Venetian enchantress who steals his reflection and hopes to steal his soul; and the lovely Antonia who loves him but risks her health when she shares his music with him.

Benjamin Oxley’s Hoffman is sympathetic and real. The warmth of his voice and the sureness of his pace and actualization endear us to his plight. Camilla Wright mesmerises with her realisation of the doll, Olympia. Her robotic movements and painted smile fool few beside the lovelorn Hoffman. There is much to admire in her delivery, she enchants with her acting and musical humour.

Nicklausse (Barbara Jin) watches over Hoffman (Benjamin Oxley). Image courtesy Heymish PR

Nicklausse (Barbara Jin) watches over Hoffman (Benjamin Oxley). Image courtesy Oscar Smith

Barbara Jin, portrays Nicklausse, a student who the Muse has charged with looking out for Hoffmann. She physicalises her character’s emotions roundly, communicating her state of mind emphatically without hamming. Ray Dubber, a company veteran, delights as the near-deaf servant, Franz. He has a larrikin’s face for comedy and is a delight to watch, a delight to listen to.

Franz (Ray Dubber), image courtesy Heymish PR

Franz (Ray Dubber), image courtesy Oscar Smith

Opera poses many challenges for its performers: they must sing the right notes; carry the tune at volume; and bring across their particular character. In a couple of instances towards the end of the second half, the strength of the full orchestra posed a challenge for the performers. But the feelings were there.

This opera was unfinished by Offenbach at his death. We are told that the act in Venice was left the least developed. Dramatic tension within this act could perhaps have been better utilised with a bigger delivery of the dastardly Dapertutto, the purveyor of reflections and souls – perhaps from costuming or make-up? Perhaps the blocking of his movement and interactions?

The costumes are evocative of the early 20th Century and aid in setting the production. The set itself is stripped back and striking – a lit backcloth and black silhouettes creating the Tavern and Venice effectively.

All in all, the Rockdale Opera Company’s, Tales of Hoffmann is a good night out, even for the uninitiated. Very enjoyable.

Tickets can be booked online. Phone bookings: 02 8197 1796

Hurry, the run closes August 26!

 

That’s NOT Baklava!

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Traditional Greek Baklava – walnut and cinnamon, The Sweet Spot. Patisserie, Randwick

“That’s NOT Baklava!”

I don’t know who was more mortified – the bakery serving Sydney traditional Greek baklava since at least 1962, my mother-in-law who was the recipient of the, to-her-mind, transparently absurd suggestion, or me.

Non-plussed but armed with the fortitude that the costumer was always right even when they were wrong, the baker was very politely going to right her customer’s wrong.

“This is how baklava is made all over Greece.”

“But is not real Baklava. Real baklava is from Mytilene.”

“Of course Mytilene makes delicious baklava but isn’t it just local variation?”

“Hmpft…” My mother-in-law pointed to a box. “Has butter?”

The baker subtly tilted her head.

“Pft… Walnuts?”

Another tilt of the head.

“Pfffffft…That’s not Baklava!”

Authentic Turkish Baklava with Pistachio, Mastika Ice Creamery, Belmore

At a family gathering a close friend with a fine nose for flavour and a passion for postmodern cuisine brought over her latest culinary accomplishment – hazelnut and rose water baklava. Oops! I forgot to warn her not to offer said mother-in-law any.

“That’s NOT Baklava!” rang through my kitchen. Profuse apologies, red faces and awkward silence followed. Unfortunately the discomfort wasn’t memorable enough for the offense not to be repeated or me to issue warnings at the front door. The next time almost caused an international incident.

Armed with the only true baklava, my mother-in-law offered her signature dessert to another baklava aficionado.

“Baklava!!!! That’s NOT Baklava. Real baklava comes from Turkey, from the town of Baklava!”

“Not Turkey, Mytilene!!!@!@!!”

That was it, I had to hit Google. I had already enjoyed the light delight of Lebanese Baklava, or more correctly, Baklawa as it’s pronounced in Arabic, but I wasn’t aware of its spread across the Balkans, the Middle East and North Africa. I found surprising mention and recipes for Egyptian Baklava, Bulgarian Baklava, Jewish Baklava, Morrocan Baklava, Iranian/Persian Baghlava and Armenian Baklava.

Traditional Lebanese Baklawa with Cashews, Ibrahim Pastries, Rockdale

Historical hearsay is rife regarding where it originated. Was it Armenia? Persia? Greece? or in the Ottoman Empire? Local stories and cultural beliefs are full of bias fueled by modern day nationalism, but is there any truth to any of them?

Armenia, the first kingdom to install Christianity as its state religion claims baklava as a sweet tied to its Christian Easter lent – 40 layers of filo for the 40 day fast. 49 CE is the date of Armenia’s conversion and also its inception of Baklava. Did it enter Armenian cuisine the same way the Gospel’s did – via Jerusalem? If so, then logically baklava originated in Israel. The Israeli Ministry of Foreign Affairs states that it’s a dessert found throughout the Arab world without determining an origin. This makes sense when Morocco and Egypt are brought into the equation. Does this then make it a Persian sweet? The Persian Empire extended throughout the Middle East but didn’t quite get to Morocco, but the Caliphate did. Perhaps baklava isn’t as old as Christianity.

Clearly the bulk of websites discussing the matter favour the Ottoman Empire with its origin. One website credits the kitchens of the Turkish Sultanate in Istanbul with the development of a similar Ancient 8thC BCE Assyrian sweet into Baklava. However, with apologies to my guest, the internet wasn’t able to produce a town called Baklava in Turkey but the sound of the word, Baklava brings Turkish to mind.

Could the Ottoman Empire be a short odds guess? The repetition throughout all of the recipes and websites of the Greek word for leaf-thin layered dough, filo, led me to ask whether it may have a Byzantine origin? That Empire did reach Morocco but not since the 6thC C.E.

Wikipedia tells us that the oldest recorded origin sweet for baklava was made by the Romans in the 2nd century BC. Placenta is mentioned by Cato and is believed to have developed in Roman/Byzantine kitchens before being refined by the Ottomans. It goes further in saying that on the Island of Lesbos there exists a baklava type sweet that is still called Placenta…Lesbos. Of all of the Greek Isles, why Lesbos???@!!@! Lesbos, aka, Mytilene, my mother-in-law’s home island! I ran it past my mother-in-law. Yes, there are some villages on the island that call baklava, placenta.

Just because the Romans documented a ” juvenilia” version in the 2ndC B.C.E. does the present day sweet without its key ancient ingredient, cheese, make it true Baklava? The Mytileneans have kept the Roman name for it alive but removing the cheese shows that it’s undergone some development,

If I had to pick a culture that has embraced this sweet and really celebrated its variety it would have to be Turkey. They will offer you pistachio, cashew, walnut, tahini and molassas, chocolate, sour cherry, apple and cinnamon, rhubarb…etc. varieties. Can they all be considered baklava?

Sour Cherry baklava with baklava ice-cream on the side - Hakiki, Enmore Rd Enmore

Sour Cherry Baklava with Baklava Ice-cream on the side – Hakiki, Enmore Rd, Enmore

Ok, so my mother-in-law’s baklava may have the earliest recorded roots. I’ll admit that. It doesn’t mean that everyone else’s baklava isn’t real baklava – just different. I’ll have them all with my Greek, er, Turkish, er, Lebanese, er….. extra short, black, muddy coffee.

Which is the real baklava…baklawa…baghlava? Aren’t they all unique as the variations in their name? But where did it originate?

Well…

And the moral of the story is, don’t ever argue with your mother-in-law. Er, maybe, just don’t argue with mine.

A big thank you to my fb friends and friends general with their suggestions of what baklava should be and where to find the best baklava in Sydney – Eleni, Costa, Cindy, Heidi, Sophia, Theo, Esen, Stella T, Georgia, Daniela, and Nic.

Review: Snoopy!!! The Musical

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

MMS_SNOOPY_NathanFarrow_LouisVinciguerra_LexiHutchinson

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.

MMS_SNOOPY_JessPunch

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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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