Audacious choices. Hone the text to the experiential, removing unnecessary mystery or ancillary story. Cast it well, gather a stellar creative team. Unvarnish the space, starken the setting, eliminate theatrics. Finally, hand it over to an audience. Once the choice is made to never overwhelm the watcher, the subject matter requires gentle expression.
For here is an evident simplicity, a meagreness of story and an intellectually rigorous depth of research to create work that whispers to an audience without clamour, of sadness and hurt and the complexity of failure. I loved the stripped and spare nature of MUM, ME & THE I.E.D I loved the lightness of touch in the funny, human moments. I thought the performances were needle sharp, bayonet sharp. Continue reading MUM, ME & THE I.E.D – THEATRICAL BRAVERY EXPOSES THE DAMAGED WARRIOR→
While long, this is a tremendous production, more faithful to Chekhov in spirit than recent revivals seen in Sydney. The play features a new translation by Karen Vickery that makes the play seem fresh and relevant. One picks up the plays’ similarities to other Chekhov works in particular The Cherry Orchard.
Director Kevin Jackson and his wonderful cast have caught the Russian melancholy and ennui perfectly. The production is magnificently performed. There is a huge cast -fourteen of the cast in credited roles and six others as servants/military /singers.- all of whom give fine, inspired performances.
With wonderful designs by Georgia Hopkins the first act sees a cluttered, crowded set of tables overflowing with books, well used worn chairs, rugs, a piano, a niche with an icon all evoking provincial Russia circa 1900. When we move into the second half, and the characters become increasingly unhappy with their lives, the stage space as defined by the rugs is halved; indicating that the action takes place in the smaller, upstairs parlour, and also reflectively surrounding the actors with empty, black space (and ominous fire-lit warmth ). For the final scenes, the carpets are rolled up and the furniture hidden under dust sheets, replaced with white wicker garden furniture, and lush green pot plants, which signify indicate the new beginnings planned. Emma Vine’s costumes are superb as is Martin Kinnane’s lighting design. Continue reading SPORT FOR JOVE PRESENTS ‘THE THREE SISTERS’ @ REGINALD THEATRE SEYMOUR CENTRE→
This was a long anticipated opening night– in the presence of the Prime Minister Mr Abbott– that will be long remembered. The Australian Ballet was in peak form and Madeleine Eastoe and Kevin Jackson delivered exceptional performances .
The performance is a revival of the 1986 Maina Gielgud version of GISELLE that has been in the Australian Ballet’s repertoire ever since. First performed in 1841 GISELLE is now regarded as one of the major Romantic ballets. The ballet tells a story of disguise, intrigue, young love, broken hearts and deception. Not forgetting the impact of the eerie, sinister Wilis who appear in Act 2-a group of supernatural women whose thing is to dance men to their deaths- determined on revenge. Continue reading The Australian Ballet in Giselle→
This play by the multi-award winning playwright, screenwriter & director Kenneth Lonergan is the debut play by Dudley Street Productions.
LOBBY tells the story of Jeff, a hapless, young security guard on the graveyard shift in a Manhattan high-rise. He endeavours to become involved with a rookie cop Dawn. However Dawn has her sights set on her older rogue partner Bill. When Jeff’s supervisor William comes to him with a moral dilemma, Jeff’s loyalty is put to the test.
Chat…Reality (TV)… Things ‘too funny’. These concepts or pastimes litter modern multimedia. TOO OLD FOR TV, written and performed by Brent Thorpe, and newly directed by Kevin Jackson, refreshingly reworks all three during the 2013 Sydney Fringe Festival.
Genuine anecdotes and classic gags are delivered fluently with detail and clarity. Extended stories blended with shorter humour gives a stand-up style which has grown into greater communication.
Thorpe’s observations are incisive, thought provoking and at times very touching. Scanning decades of life in Sydney, the show gives timely evidence that a gay lifestyle and identity dates bravely back to well before the last election, rally, current affairs show or phone hook-up app.
From such a standpoint, this comedy gives a soap opera slap to hackneyed politics, bitterness and self-pity. Historical images of a gay social life are inspiringly covered. Commentary on residential environments in Sydney’s suburbs is well-located.
A decent documentary on social habit and live entertainments for all Sydneysiders since the seventies is included. Deliciously indecent tales based on friends, family and a once underground sexuality skirt shyly about no tricky issues.
A well paced, intelligent and suitably risque delivery ensures fluidity and allows plenty of evidence to be shared and to educate. Thorpe shows storytelling talent which could easily expand a narrower subject and time period into a single show.
The substantial fabulousness on offer in TOO OLD FOR TVengages and drags lots out of you. It will leave you commenting (virtually or otherwise) on your community, that of others, and of a diverse humanity, for some time afterwards.
The final performance of TOO OLD FOR TV is this upcoming Saturday, September 14, at the Lybrary, formerly known as the Shannon Hotel, 87-91 Abercrombie Street, Chippendale.
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