JESUS WANTS ME FOR A SUNBEAM is an extraordinarily moving night at the theatre, with performances emotionally pitched to the narrative movements of the work, accessible writing which strikes at the heart and a multilayered thematic examination of a very difficult subject. But there is an underlying reality to this National Theatre of Parramatta production: it’s not about what happens in the room. It is about issues that will haunt the watcher’s sleeping and it’s about what the play begs of us, empathy inside the judgements and assumptions when a story hits the headlines.
In one room in a family home we meet the Pollards, a tight knit somewhat unusual family. They have been so, we understand, from the time Linda and Rick met. With the perfect family unit of an older boy, Ben, and a younger daughter, Emma known as Wol, the parents are very aware of the perils in life. In a presumption of protectiveness they have closed themselves off without withdrawing completely. Especially not from Linda’s parents, and Grandma and Grandpa are frequent visitors. And witnesses.
Because something has happened here and Ben, now grown, is trying to work out why. Through his eyes and the reminiscences of his father, the audience is slowly made aware of what has been sacrificed in the name of the children. It is never as it seems, this play, and such is quality of the writing from Steve Rodgers (adapted from the Peter Goldsworthy novella) that the narrative carries consistency of line yet is unpretentiously mysterious. The characters are completely understandable and the moral questions are enriched by this engagement. Continue reading JESUS WANTS ME FOR A SUNBEAM. GO.→
Featured photo – Simon Lyndon and Georgina Symes. Pic Patrick Boland.
From time to time, a play comes along that fits perfectly well in the psyche – enabling us to relax, enjoy, compare, empathise, sympathise, laugh and brood.
SUNSET STRIP, Suzie Miller’s latest play, empowers its audience. We know that we are not alone and mutual hope is the elixir of well-being.
It is a play about challenge, hope and families struggling with their imperfections whilst maintaining a deep sense of belonging and an unbreakable bond
Miller says of her play, “I wanted it to reflect how we bumble through life with all sorts of challenges, some of which will never be fixed or cured, but which we take on board and battle along with. There are also many funny and darkly ironic moments that come about even when we live with ‘everything going wrong’. I wanted to celebrate this because it is something we have all known and have experienced.”Continue reading SUZIE MILLER’S ‘SUNSET STRIP’ @ THE STABLES→
FOOD is a magnificent collaboration between Force Majeure and Belvoir St and was originally seen downstairs at Belvoir in 2012. The script has been devised by co director actor/playwright Steve Rodgers.(Warning there are at times lots of strong language) .The result is a glorious fusion of physical theatre, straight drama and dance.
Champion’s choreography includes everyday movement, and fragile, tender, intimate gestures incorporating orchestrated incidental movement in slow-mo: imagined vignettes; thoughts expressed, physically, aloud; gestures of tender, gentle touch the characters wish they could lavish on each other, if only it felt safe, permissible and possible to do so. Champion has gone for intense nuance rather than a theatrical-choreographic combination , yet she also features a small solo or interactive sequence in which the characters express their innermost authentic feelings, as they transcend the roles that they have been cast in.