Call me a philistine and throw me to the Chekhovians. I don’t get. Maybe I started too young. Us drama types try and immerse in the canon early. I get Strindberg, I get Ibsen. Can’t blame it on my parents, can’t blame it on Chekhov. I mean other people get it. Do I need to get it? Probably not!
Imagine my surprise then. That in a place as strange as Marrickville, with thundering aircraft low overhead and armed with coke and chips because its going to be a sodding 2 hours long. Imagine my surprise to thoroughly enjoy what I might have called in a text to a friend beforehand… Fucking Chekhov. Continue reading THE SEAGULL: SOARING WORK BY SECRET HOUSE THEATRE→
Plenty of shots are fired in the late, great Edward Albee’s classic drama, WHO’S AFRAID OF VIRGINIA WOOLF. Middle-aged couple George and Mildred marriage is a war zone and they invite another couple, Nick and Honey, over to unwittingly join them on the front line.
This latest revival of this oft performed Albee work has been put on by the Theatron Group.
A good creative team comprising John Pryce-Jones’ raised platform set of George and Martha’s 1960’s living room, Martin Kinnane’s sharp lighting design, and Alistair Wallace’s subtle sound design create a very distinct world for what is a stellar cast to weave their spell in. This small troupe of players genuinely seize upon the ‘meaty’ roles which Albee has gifted them. Continue reading WHO’S AFRAID OF VIRGINIA WOOLF? @ THE GREEK THEATRE→
In the opening sequence of THE HOUSE OF RAMON IGLESIA a mother lights the incense for the small, crowded, ever-present house altar. The audience has been warned about its use. The smell is strong and pungent. But the wafts rising from the well-used smoker soon dissipate. This is much the way I felt about the production. So many solid things about the enjoyable and well conceptualised show but little to take home.
This is a family drama. Ramon has brought his clan from Puerto Rico for the good life in America, landing in Long Island in the 1960s. It is now 1980. He has a disaffected wife who refuses to learn English and a janitorial job in a school which doesn’t help his alcoholism or his diabetes. He has three sons. They are different, yet all three have more aspiration and self-belief than he has. Continue reading The House of Ramon Iglesia @ The Old Fitz→
In her new play THE PLOT, Greek playwright Evdokia Katahanas’ follows the challenging journey of nursing home manager, Lily.
By the close of Katahanas’ play I had all the empathy in the world for Lily, who director Sophie Kelly so poetically described as being, ‘the rib cage protecting her patients’ .
What a tough gig she has! On one hand she has all the dramas involved in caring for her many and often difficult patients. On the other hand, she has to contend with the demands of corrupt, cantankerous, insensitive managers.