Echoes of school? Of P&F meetings where a quick scan of the agenda sees the acronym STEM leap at you and you know, you just know, that the Arts are going to get screwed. Not here. EAR TO THE EDGE OF TIME is STEAM storytelling, meticulously researched, rigorously interrogated and crafted with a Whovian blend of art and science and contemporary philosophy. With a narrative inspired by real events and gender inequality in the hardsciences as the imperative, Sport for Jove, director Nadia Tass and writer Alana Valentine have constructed an engrossing and relevant treatise about humanity’s relationship to the scholarship of factual and creative disciplines.
Martina is a PhD candidate working in the field of neutron star physics. Enter Daniel, a poet. These two have been buffeted together by invisible forces. They have separately accepted an offer to collaborate on a poem for a collection inspired by the sciences. The project is driven by Physicist Prof Geraldine Kell-Cantrell and Daniel has travelled to Parkes and Ubered out to the dish to meet with Martina. Making first contact is not going to be easy as she squawks her reluctance to leave her work in the dark: a revelatory discovery is within her grasp and her supervisor, Steven, is not one to interfere. Not actively anyway. Continue reading EAR TO THE EDGE OF TIME: HUMANITY IN THE SPACE BETWEEN THE DATA→
EAR TO THE EDGE OF TIME by Alana Valentine is inspired by true events. A young radio astronomer who makes a universe-shifting discovery, only for her work to be claimed by her older, male, supervisor. As she wrestles with her frustration and the potential consequences of speaking out, the decision about whether she should go public is suddenly and irrevocably taken out of her hands.
Sydney Arts Guide had the opportunity to speak with one of the stars, Gabrielle Scawthorn, who has just had rave reviews for her work in IRONBOUND. (SAG Review)
SAG: Thank you for stepping out of rehearsal to chat with our readers. You’ve just come off a very big show and straight into this one, you must have been busy with rehearsal and prep and a show on the boards.
GABRIELLE: ( laughing) Yes I was. Which I haven’t done in quite a while. I’ve done it a couple of times before but this is the first time in about 3 years. There is a skill to it! It is a different ball game entirely, kind of taking one hat off and putting the other on with an hour or so turnaround.
SAG: I bet there is. Was the KXT dressing room littered with astrophysics books?
GABRIELLE: No, no it wasn’t. The guys made fun of me because the dressing room is very small and the lovely boys I did the show with were all very, very caring and so on the first day that I came in they said ‘ how are rehearsals. Tell me all about it ?’
So desperate was I to see IRONBOUND that I wheedled and cajoled An Assorted Few to let me attend a preview on the one night I have off this week. Letting reviewers into a preview is a huge leap of faith and rarely done, and I thought that it would be close enough to ready that I could see what was what. But damn… if they get any better the earth will move beneath the Kings Cross Theatre and the iron of the building will shake and fold into itself. It is a production with four terrific performances, a production which challenges the viewer to listen and understand the beneath, a production which brings a life not our own, into blurred existence for our considered focus.
We meet Darja. A 42 year old Polish immigrant waiting on a bus stop in Jersey where she is in sight of the crumbling factory that once afforded her a kind of living and she is in a fluorescent lit place that draws her in crisis. Over the course of the play we will meet Darja over 20 years, from now when her boyfriend of convenience, Tommy, is with her in his own way, to her youth. Back then we will observe affecting love but also the tensions of unassailable difference between she and her husband, Maks, who is convinced that music is the way out of poverty. One other male will enter her world here in this barren place, Vic. The conundrum in him will bring into focus a societal rending of class and circumstance. Continue reading IRONBOUND: RAILS AGAINST THE GOING NOWHERE OF POVERTY→
The randomness of life…matters of chance…that we are all living in a kind of fog….that we need to live in the moment.. to deal with the lousy stuff that life deals us as best we can, and make the very best of those good moments/times when we do get them…not to hold on too tightly to things as they will pass…This was what I felt Christopher Harley was saying with his eloquent, easy to relate to new play which is given an impressive first production by Antony Skuse and a very fine cast and production team.
Gabrielle Scawthorn plays the main character; a restless, kooky, feisty young woman, Abbey. Gabrielle is charismatic in the role, playing the kind of character that one could imagine a young Goldie Hawn playing. Abbey carries and drives the action of the play. My feeling was that she was the author’s voice in the play. Continue reading BLOOD BANK @ ENSEMBLE THEATRE→
How good was that! As I was making my way out of the ATYP’s Studio 1 Theatre, this was my immediate and emphatic response to the ATYP’s current production, Anthony Skuse’s Australian premiere production of New York playwright Diana Son’s 1998 play STOP KISS.
From every angle one looks at, this show succeeds. The play is a wonderful piece of writing with intersecting storylines meeting to maximum impact.