Tag Archives: Geraldine Hakewill

TOM STOPPARD’S ‘THE REAL THING’ @ THE DRAMA THEATRE

The   subject of British playwright Tom Stoppard’s THE REAL THING  is love and the difficult terrain of the human heart.  Written in 1982 it was a  change in style for Stoppard who usually wrote very cerebral works .

In THE REAL THING Henry is married to Charlotte, whilst Annie is married to Max. But its Henry and Annie who have fallen passionately in . love. For Henry the main character, the question is has  Henry found love, is it the real thing?!

There’s also a sub plot which involves Annie who has taken up the cause of  Brodie an imprisoned Scottish soldier who has written a script which she wants to produce. Henry doesn’t offer any help , He thinks it is shite!  Continue reading TOM STOPPARD’S ‘THE REAL THING’ @ THE DRAMA THEATRE

THE RISE AND FALL OF LITTLE VOICE : BIG HEARTED THEATRE

Caroline O’Connor and Bishanyia Vincent in Jim Cartwright’s ‘The Rose and Fall of Little Voice’. Production photography by Robert Catto.

Jim Cartwright wrote THE RISE AND FALL OF LITTLE VOICE in 1992 but the play seems to be set some years earlier, in the late sixties or seventies. A great play can over the decades be interpreted through the lens of that particular period.

In all likelihood the play was probably interpreted as yet another great kitchen sink drama where poverty and lack of status turns people into monsters.

Today it could be interpreted through the me too movement where women are ruthlessly exploited with the promise of love or fame. However it doesn’t matter because you can enjoy it simply as a night of great theatre.

Jim Cartwright calls this play a modern fairytale where Little Voice alone in her room (the tower) mourns for her recently departed father through listening to his old record collection comprising mainly of divas such as Judy Garland, Shirley Bassey and Marilyn Monroe. She must be rescued by a gentle prince in the unlikely form of a meek telephone technician. Below her room is a world of tumult with a drunken mother storming about irresponsibly with a manipulative beau  both of whom are trying to exploit Little Voice’s freakish talent for mimicking great singers. Continue reading THE RISE AND FALL OF LITTLE VOICE : BIG HEARTED THEATRE

REHEARSAL CALL : THE RISE AND FALL OF LITTLE VOICE

UK playwright Jim Cartwright described his play as a contemporary fairytale where Little Voice retreats into her safe space similar to the fairytale tradition of the maiden in the tower.

LITTLE  VOICE,  as it is best known, was a huge success winning the Olivier award for Best Comedy and the Evening Standard award again for Best Comedy . It is a play that has had numerous productions all over the world including Australia and was made into a .film directed by Mark Herman in 1998. starring Jane Horrocks and Brenda Blethyn.

These are big shoes to fill and the Darlinghurst Theatre Company believes that it has the cast to split the seams of those shoes. Playing Marie the .boozy alcoholic mother of Little Voice is theatrical royalty Caroline O’Connor. She is thrilled to be in this production as she can throw off her musical theatre credentials and sink her teeth into a truely gritty role. Continue reading REHEARSAL CALL : THE RISE AND FALL OF LITTLE VOICE

Antony Skuse on PLATANOV

The cast in rehearsal for PLATANOV to play the ATYP Studio theatre in November
A talented young cast take on PLATANOV, the Russian master’s first full-length play

I recently had a chat with Anthony Skuse who is adapting and directing the upcoming production of Anton Chekhov’s PLATANOV (1878) which is moving into the ATYP Studio theatre in early November.

Skuse spoke of how the great Russian playwight wrote this work, his first full length piece, when he was only 21 years old. The piece was originally untitled and is also known as Fatherlessness and A Play Without A Title.

A sensitive young writer, he had the play locked in his desk drawer for many years, wary of showing it to anyone, in fear of rejection.

“The piece is a bit of a messy, sprawling work. If it was produced in its raw form it would run for about five hours. I have kept the play in its original setting and time period (Russia in 1881) but have cut the play back to a couple of hours and reduced the number of characters from twenty to fifteen, each part played by a different actor.

“PLATANOV is very much a work by a young writer. Chekhov puts everything into it. His love of theatre comes through very clearly. The themes espoused in the play are themes that Chekhov would explore throughout his career.”

The play follows a group of intense young people, led by the main character Platanov at a very touchy point in their lives. In their twenties, they are seeing the passion and idealism of youth become more and more tempered by the coldness and harshness of life experience. This has led them to feel disillusioned, even more to the point angry, that life isn’t turning out they want it to.

“I expect that audiences will have quite a strong and personal reaction to this production. I want it to be an intimate production. How I want people to experience the show is that it will be like they are seeing these young people’s lives, relationships and where things go wrong played out in front of them,

“Last year we workshopped the piece and one of the women who saw it said, “Oh my God, I feel like I am seeing my life before me.”

Skuse says that rehearsals are going really well, and that there has been a great atmosphere in the room working with some of the finest young acting talent in Sydney. The cast includes actors of the calibre of Charlie Garber, Geraldine Hakewill, Matilda Ridgway, Terry Karabelas and Sam Trotmen

Stage and screen actor Garber plays the title role, a character who sounds very intriguing. He is a laid back provincial school teacher who women are irresistibly drawn to even though he is not exactly single. Included amongst his female admirers are a widowed landowner, her younger stepdaughter, and an earnest chemistry student.

In an interesting aside, Skuse told me that he was happy to be able to put on the show now before the Sydney Theatre Company produce their own mainstream production of PLATANOV, in a new adaptation by STC Artistic Director Andrew Upton titled THE PRESENT, in August next year, starring Richard Roxburgh and Cate Blanchett.

Put this show in your diary. It looks like it will be worth seeing. A Cat Nip and Mophead production, Anthony Skuse’s adaptation of Anton Chekhov’s PLATANOV is playing at the ATYP Studio Theatre, previewing on the 5th and 6th November, opening on the 7th and then playing until the 22nd November. Performances are Tuesdays to Saturdays at 7pm and Sunday matinees at 5pm.

The Guide has two double passes to give away, if you can make either of the two preview nights. Be one of the first to email the editor on:-editor.sydneyartsguide@gmail.com.

 

Tartuffe

Leon Ford as Tartuffe tries to to seduce Orgon's wife Elmire, played by Helen Dallimore. Pic Lisa Tomasetti
Leon Ford as Tartuffe tries to to seduce Orgon’s wife Elmire, played by Helen Dallimore. Pic Lisa Tomasetti

In a witty, fresh translation – yes in rhyming couplets – by Justin Fleming, Bell Shakespeare brings us a wickedly delightful new version of Moliere’s TARTUFFE. It has been updated to Sydney now, with Australian slang and accents and works wonderfully. Fleming’s translation remains faithful to Moliere’s text while rearranging the 12-syllable lines of rhyming couplets to suit the English language. The younger audience especially loved it and were in stitches.

The play is still extremely relevant to today. Above all it examines the fake hype and religious fervour, the search for religious meaning in late middle age, that the pious swindler Tartuffe shams, Rasputin like, – a veritable Napoleon of a TV evangelist con man. Continue reading Tartuffe

FURY

Harry Greenwood(Joe) and Alice(Sarah Peirse). Pic Lisa Tomasetti

FURY, the new play at Sydney Theatre Company’s (STC) Wharf 1 Theatre, is a new work by prominent Australian playwright Joanna Murray-Smith. The STC’s Artistic Director Andrew Upton commissioned the play from Murray-Smith, with the proviso being that it be a family drama.

In her Writer’s Note for the program, Murray-Smith revealed something of her creative process. ‘My starting point was the question- How do the children of radicals define themselves against the backdrop of their parents’ ideological convictions?’.

Continue reading FURY