The power of the personal was how I ended up sitting in a Saturday afternoon matinee of THE CARETAKER at Riverside Theatres. Nicholas Papademetriou talked me into it; you can see the interview with him here. For me, Harold Pinter’s classic work comes with a certain amount of baggage … leftovers from the 1960s when it was new, when the ‘Pinter Pause’ dominated, when abstract work and non-sequiturs were not as common on the stage. Instead of baggage, this production has clutter, dirt and performances groomed into deterioration. It is an achievement of modern relevance in a rigorously truthful reflection of the play’s heritage. Continue reading THANK YOU NICHOLAS. ‘THE CARETAKER’
THE CARETAKER, a classic of the English stage by Harold Pinter is coming to Riverside Theatres and Glen Street Theatre. The Guide had the opportunity to speak to Nicholas Papademetriou who is acting in a role he has played before but this time, co-directing the show with Alex Bryant-Smith. Continue reading THE CARETAKER. AN INTERVIEW WITH NICHOLAS PAPADEMETRIOU.
Legendary absurdist playwright, Harold Pinter’s masterpiece is coming. THE CARETAKER is one of the most brilliant contemporary classics of our time and is a must-see.
Following its premiere nearly 60 years ago, THE CARETAKER remains as relevant today as ever with issues of identity, power, family and mental illness. It will be presented by Throwing Shade Theatre Company (Metamorphosis, Vincent River) in association with theatrongroup (Anna in the Tropics, Greek Tragedy and The Importance of Being Earnest). Continue reading THE CARETAKER. NEARLY 60 YEARS ON – EVEN MORE RELEVANT. GIVEAWAY
ART FOR ART’S SAKE examines the role of art and performance in the world, a fitting subject for a Sydney Fringe production. This short play shows glimpses of an artist’s life. The scenes of a film school class, dealing with galleries and working in a mundane job are amusing and insightful. There is an interesting narrative about a father advising his artistic daughter not to waste her life like he did pursuing an artistic dream. He suggests she should be like her brother and follow him in the corporate world. Continue reading ART FOR ART’S SAKE
TELESCOPE is bent over laughing entertainment. Part of Red Line Productions THE NEW FITZ, a season of ten Australian writers, this show is wonderfully, obliquely … silly. In fact, histrionic, hilarious, high spirited, it is an exercise in advanced silliness. With a whole heap of my viewing-year-so-far bests!
Beginning with best use of an antennae to open a show. Daniel is on the lookout for aliens when we meet him as we enter the theatre. He and his transistor and his aerial are perched on a table centre stage. There is great deal of leaping and arm raising and getting of mixed signals. (Terrific audio cues btw) until his parents arrive.
Mum and Dad get my best in show for most disengaged parents! Only slightly interested in anyone else’s agenda, this absurdly dysfunctional family is completed by the arrival of Lenny. An expert non-listener, she is driven to try and save the family home from the Government’s greedy claws as it buys up the Sydney suburb. Their little home and those around it are the perfect place for a radio telescope and there are big ass bucks to made by selling up and heading out. Continue reading BROOKE ROBINSON’S ‘TELESCOPE’ @ THE OLD FITZ
In the opening sequence of THE HOUSE OF RAMON IGLESIA a mother lights the incense for the small, crowded, ever-present house altar. The audience has been warned about its use. The smell is strong and pungent. But the wafts rising from the well-used smoker soon dissipate. This is much the way I felt about the production. So many solid things about the enjoyable and well conceptualised show but little to take home.
This is a family drama. Ramon has brought his clan from Puerto Rico for the good life in America, landing in Long Island in the 1960s. It is now 1980. He has a disaffected wife who refuses to learn English and a janitorial job in a school which doesn’t help his alcoholism or his diabetes. He has three sons. They are different, yet all three have more aspiration and self-belief than he has. Continue reading The House of Ramon Iglesia @ The Old Fitz
In her new play THE PLOT, Greek playwright Evdokia Katahanas’ follows the challenging journey of nursing home manager, Lily.
By the close of Katahanas’ play I had all the empathy in the world for Lily, who director Sophie Kelly so poetically described as being, ‘the rib cage protecting her patients’ .
What a tough gig she has! On one hand she has all the dramas involved in caring for her many and often difficult patients. On the other hand, she has to contend with the demands of corrupt, cantankerous, insensitive managers.
Dina Panozzo, one of our finest actresses, delivers a very touching portrait of Lily’s ‘heroic’ journey. Continue reading The Plot @ The Greek Theatre
With one great shot of a furious Nicholas Papademteriou as the Minister, a copy of the national paper in his hand and with his senior public servant concernedly looking on, photographer Zak Kacmarek tells us the story to Aussie playwright Aidan Fennessy’s THE WAY THINGS WORK.
Fennessy takes us deeply into the world of incompetence, criminal activity and corruption in the public sector which through a public enquiry have come out in the open, causing the usual furore. Continue reading The Way Things Work