In Tennessee Williams CAT ON A HOT TIN ROOF Big Daddy is dying but he doesn’t know it yet. It is his birthday. Big Mama is in the dark. Brick is at the bottom of a bottle. But Brick’s wife Maggie is alive, desperately alive, and dancing like a cat on a hot tin roof. We meet the fabled family when lies are rife, tensions are boiling over and their future is at stake.
Kip Williams production serves Williams’ epic drama well. He leads a great creative team who dynamically set up the world for the actors to work in, and they respond by giving strong performances.
Hugo Weaving has a darkly masculine energy as the formidable, imposing Big Daddy. Weaving makes his first appearance at the very tail of Act 1. Big Daddy is the patriarch of the family who everyone lies in fear of. He has had a health scare and thought that his reign might be over but the results seem to be positive so he is back being the boss again. The main thing that he wants is to get Brick’s (his favourite son) life back on track again. Big Daddy and Brick have one hell of an extended, prolonged scene together with sparks flying back and forth.Continue reading CAT ON A HOT TIN ROOF : SEARING DRAMA @ ROSLYN PACKER THEATRE→
It is only a very brief time after we have taken our seats and the house lights have gone down that we are just taken over by the world of VENUS IN FUR.
The play’s action take place in a theatre rehearsal/warehouse space. The main features are a writing desk, (alongside is a small table with a kettle on top), and an expansive chaise lounge close to the centre of the stage.
We hear sounds of a wild electrical storm taking place outside- portentous that plenty of drama is also going to take place within these walls.
Our attention is drawn to Thomas, a jaded theatre writer/director who is trying to cast an actress for the lead role in a new play that he is going to stage, his adaptation of a nineteenth century S and M novel.
He is having a rough time of the process. We hear him on the phone to a friend saying that none of the actresses that have come through so far have been any good and that he doubts that he will find a suitable actress.
And then in through the door walks Vanda, a startling, attractive woman wearing a brown trenchcoat and carrying a mangled umbrella She has come to audition for the part and is coming on very strong.
At first Thomas is contemptuous of Vanda. He just wants her to leave. Vanda, however, won’t take no for an answer. In the end Thomas relents and an audition of sorts begins to take place.
As they start working on the script, we soon cotton on that there is much more to Vanda than she is revealing. How comes she seems to know so much more about the script than she should? Further, how come she knows so much about Thomas’ private life?
Where is this going? Brilliant American playwright David Ives has well and truly hooked us in….How is this going to play out?!
VENUS IN FUR, to use Bette Davis’ famous phrase, proves to be a very bumpy, action packed ride. Ives mixes things up so much to forever keep us hanging. What is equally rewarding is that the play delves deeply into the Battle of the Sexes…We are enthralled by the intriguing, mesmerising, sometimes dangerous and at other times very erotic dance that takes place on stage between Thomas and Vanda.
There is so much to this piece, so many different allusions and ‘ripples’ going away everywhere, that it would take at-least a few visits to take it all in.
Grace Barnes’ direction is flawless. She wins good performances from Anna Houston and Gareth Reeves. They totally inhabit and plumb the depths of their complex, many sided characters. Anna Houston employs a kind of creepy walk to personify her character.
Gareth Reeves’ Thomas comes across as an urbane, sophisticated thespian and then he shocks us by delivering a vicious, sexist diatribe Vanda’s way.
Barnes’ creative team do great work: Sian James- Holland’s lighting, Jessica James-Moody’s soundscape are both effective. As is Mel Page’s set and costume design. This is one of these pieces where both actors are constantly changing garb which sometimes also changes the way that they behave.
Recommended. Easily one of the most exciting shows this year so far. VENUS IN FUR is playing the Eternity Playhouse until the 5th July.
Merry is not quite the word for A CHRISTMAS CAROL playing during the Festive Season at Belvoir. The show is definitely Christmassy, definitely snowy, but it is the faithfulness to the original text which gives the show its dimension. Modernised in places and with Australian accents, the production retains the Dickensian darkness to give a depth of thought to stay with you after the flurry has melted away.
Ebenezer Scrooge (Robert Menzies) is hunched over a large ledger when the audience enters the space. Bob Cratchit (Steve Rodgers) is working faithfully beside him. After an uncomfortable visit from his nephew Fred (Eden Falk), Scrooge reluctantly closes up for the day and heads home to his bed as Bob joyfully heads home to his family. It is at 1 am, in bed, that Scrooge encounters the tortured ghost of his dead business partner, Marley (Peter Carroll).
Rest will not come easy to Scrooge on this Christmas Eve. He will be visited by Christmas Past, Christmas Present and Christmas Future. These apparitions bring him back to the love of humanity he knew as a small boy. In this way, will he avoid the fate of his dead partner? Continue reading A Christmas Carol @ Belvoir→
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