This is regarded as one of the major events of the 2021 Sydney Festival and stars multi-award-winning vocalists and performers Paul Capsis (Threepenny Opera, Angela’s Kitchen, Cabaret) and iOTA (Smoke and Mirrors, Graeme Murphy’s Berlin, Hedwig ) in this concert version of a planned upcoming musical. RAPTURE: a song cycle of Desire and Ecstasy,
Murder and Mayhem, where new songs are featured blended with reimagined classics by Megan Washington, Deb Conway and Willy Zygier, Blondie and The Kinks. The work was introduced by host Yumi Stynes.
It is a strange, plotless , somewhat disturbing contemporary allegorical song cycle for what could possibly be the end of the world as we know it , involving themes of ecstasy and desire, exorcism and repression, life and loss, greed, sin and morals, murder and love. Some of the songs have strong language – the work blends borderline blasphemous to love ballads, reflection and analysis almost tearing the soul apart and string quartets. Continue reading SYDNEY FESTIVAL : RAPTURE @ THE HEADLAND BARANGAROO→
ACTORS BENEVOLENT FUND’S most popular fundraiser event – the INDOOR PICNIC AND CABARET is back. This year marks 75 years that The Actors Benevolent Fund has provided assistance to performing arts professionals in times of need.
This fabulous event will be held on Sunday 18 August in the Joan Sutherland Rehearsal Room of Opera Australia. Award winning director Luke Joslin, and legendary Musical Director Michael Tyack have brought together Sydney’s best-known performers for this glittering industry event including:-
Nancye Hayes, Jonathan Biggins, Chloe Dallimore, Paul Capsis, Sheridan Harbridge, Sandy Gore, Maggie Blinco, Natalie Abbott, James Hadwin, Scott Irwin, Margi de Ferranti, Olivia Vasquez, Peter Cousens, Brittanie Shipway, Dan Belle, Wayne Scott Kermond, Garry Scale, Robert McDougall, Daniel Belle, Jay Laga’aia, Courtney Bell, Meredith O’Reilly, Siobhan Clifford, Laura Murphy, Stephanie Caccamo, Heather Mitchell and many more.
ACTORS BENEVOLENT FUND is the entertainment industry’s charity that provides help when it’s needed most. Founded in 1944 to assist the many members of the acting profession who were caught up in the devastation that World War II. It was recognised that action was required to look after the families of lost servicemen and women. It is in this spirit that the Actors Benevolent Fund has continued for 75 years, in supporting professional members of the performing arts community across theatre, film and television.
The Actors Benevolent Fund also umbrellas the STA Fund which was established with the Sydney Theatre Awards to assist members of the theatre community suffering from mental health issues. It also administers the Victoria Longley Cancer Appeal which offers financial assistance to help with the costs of cancer treatment. Donations to these funds and the Actors Benevolent Fund can be made on the ABF website.
Gather your friends, pack your picnic and head out for a night to remember!
As the kissy kissy photo shoot for the SYDNEY GAY AND LESBIAN MARDI GRAS 2018 launch proceeded on the steps of the Sydney Opera House, divalicious Trevor Ashley was heard to pronounce “I need a long black.” No argument there from his fellow ambassadors including Paul Capsis and Todd McKenney and the clickkity click assembled media. That much fun and flair, clustered around a very pink flamingo wading pool, can be very tiring. Continue reading 40 YEARS OF EVOLUTION: Mardi Gras 2018 launch→
When asked to what he attributed his longevity Quentin Crisp replied ‘Bad luck’.
Paul Capsis is Quentin Crisp in this astonishing, gripping bravura performance.
This monologue by Tim Fountain based on Crisp’s books is flamboyant and acerbically witty – at times outrageously so. A case in point is Crisps’ comments on the death of Princess Diana.
As deftly directed by Gary Abrahams, designed with flair by Romanie Harper, and with atmospheric lighting by Rob Sowinksi, this production sizzles. Capsis plays Crisp with panache and superb timing.
For those not in the know, Quentin Crisp was an English writer, perhaps best known for his memoir The Naked Civil Servant and his one-man stage show, An Evening with Quentin Crisp. A charming and erudite yet acerbic raconteur, Crisp delighted audiences and readers with the story of his life – most particularly his work as a nude model , actor and rent-boy – and the difficulties he faced living as an openly homosexual man in mid-twentieth century Britain.
Crisp presented a severe frosty image to the outside world and became an iconic figure who was decried for what he said but loved for the way he said it .
In this production we meet Capsis as Crisp towards the end of Crisp’s life in his famously filthy and dingy flat in New York for a heart to heart about Life as only Crisp knows it . The bed is stained, the furniture shabby, dishes unwashed, there are books and litter everywhere. The mirror is smudged. There are a couple of lamps and a black clunky telephone of the period. Crisp is asleep under a dirty blanket when the audience enters. He is watching Ophra on his small TV.
The play looks at Crisp’s thoughts on Margaret Thatcher, politics in general, the difference between the UK and the US , books and writers, and how it feels like being an outsider.
A major theme was Crisp’s lack of acceptance of himself as a homosexual and his search for a sense of personal identity; longing to not just be noticed but also recognised.
Crisp suffered severely from eczema so we see Capsis covered in bandages and scratching. In this revealing show we also see him stripped to his underwear and with a support girdle. At times he looks like the ghost of a Hogarthian drawing of a decadent, debauched French aristocrat just before the Revolution. For some of the show Crisp is in a grey dressing gown and we see him put on his ‘social’ exterior and makeup with a jaunty coloured black velvet suit with pink shirt and red hat, dressing for the expected guests Black and Brown who never arrive.
With the Crisp drawl (which Caspis has caught to perfection ), the makeup , the hairpiece and doddering physicality Capsis’ performance could be seen as a little over the top and grotesque but Capsis reveals the complexities and hidden vulnerability beneath the surface – his façade of confidence.
Capsis ‘ charismatic, very physical- he growls, he purrs- demolishes the fourth wall and reduces the distance between character and performer to next to nothing. Crisp speaks out about the search for justice and the alleviation of suffering in a compelling performance.
Running time – 80 minutes straight through.
RESIDENT ALIEN is playing the downstairs Reginald theatre at the Seymour Centre until 23 July.
A fabulous bright bold and colourful re telling of this much loved Carlo Collodi story for all ages that enchants .Yes , this is still a very moral story , of a little puppet who wants to be real , about not telling lies , with the extendable nose and there is also a subtle anti-bullying message.