Travelling North by David Williamson. Presented by Christine Harris and HIT Productions, directed by Bruce Myles. Tuggeranong Arts Centre, October 20 and 21.
After 30 years this play, and particularly this production, travels well. Myles' direction suits this small-scale venue, bringing out qualities of character and personal relationships more successfully than I remember from early productions on larger stages where Williamson's one-liners were funny but less engaging.
Perhaps, too, Williamson, still in his thirties when he wrote the play, focussed on his wit, while writing a study of a later-life love affair which now resonates with an audience like me - and him - in our sixties. Now the comic lines contrast with and highlight the seriousness of weaknesses the older couple see in themselves when they reflect on their lives, and when we see the failed states of their childrens' marriages.
All the cast - Sandy Gore (Frances), Terence Donovan (Frank), Shelly Lauman and Kate Cole (Frances' daughters Sophie and Helen), Elizabeth Slattery (Frank's daughter Joan), Ross Thompson (neighbour Freddy) and Lewis Fiander (Frank's doctor Saul) - work as a team of equals in creating a complex emotional interplay which is a drama of considerable depth. The political and gender issues which generated almost gratuitous laughs three decades ago are now placed in context as aspects of the personal histories of these characters. The play, set in 1972 as the Vietnam War still dragged on and Gough Whitlam was about to win government, is tied to its time but is not dated. The characters' histories are now part of all of our history.
An interesting sidelight on the play is that it makes us realise how much communication has changed since the internet has become essential to our lives. Yet the fundamentals of personal relationships stay the same.
The audience's sustained applause on opening night expressed our appreciation not only for the skills of the director and actors but, I think, for a production which brought the best out of Williamson. Very satisfying.
Tuggeranong Arts Centre should be congratulated for engaging HIT productions, who plan a further tour of Travelling North in 2009. If you have missed it this time around, try to catch it next time.
©Frank McKone, Canberra
Monday, 20 October 2008
Friday, 17 October 2008
2008: Yibiyung by Dallas Winmar
Yibiyung by Dallas Winmar. Company B directed by Wesley Enoch at Belvoir Street Theatre, Sydney, in association with Malthouse Melbourne. Season: September 17 – October 26, 2008. Bookings: 9699 3444 or www.belvoir.com.au
Reviewed by Frank McKone
Previously published in the Canberra Times, September 2008.
There are nearly 5 million reasons why I don't want to live in Sydney, but one that makes me wish I did – that's Company B, Belvoir Street Theatre. However, matinees at 2pm Saturdays and 5pm Sundays are well worth the drive.
Yibiyung richly deserves the "continued commitment to the development and staging of Indigenous theatre and generous support of Indigenous creative artists" given by the Company B Chairman's Group. Winmar's 3rd play is not drama on a grand scale. It is an intimate story of a young Noongar woman, her own grandmother, taken from her family under the WA Aborigines Act 1905, which made the Chief Protector of Aborigines the legal guardian of all 'aboriginal' and 'half caste' children up to the age of 16.
At the end of Act 1, I was in tears not only because of the inhumanity of her treatment at the infamous Moore River Native Settlement, as much as at Yibiyung's loss of family and culture which were so necessary to her after the death of her mother. This was not fiction, but an indictment of the real history of girl No 454. At 14 she was sent into 'service' with the worst that could entail. Yet it was the Aboriginal injunction against marrying within one's own skin group which later she and her Smiley had to accept. Life in either culture is not easy romance.
Her escape from 'protection' was an act of independence and bravery. Despite everything, she succeeded in finding her uncle, her real protector, later to become the grandmother of the author, allowing us to leave the theatre feeling as proud of Yibiyung as Winmar herself.
Larrakia (Darwin) woman Miranda Tapsell (Yibiyung) is still at NIDA, Jimi Bani (Smiley) trained at WAAPA, Jada Alberts (Yibiyung's mother Yirrabin) trained at the Adelaide Centre for the Arts, David Page (Uncle) of Page 8 fame is a Queensland Murri, Melodie Reynolds (Djindi, Yibiyung's friend at Moore River) is a Wongi woman from WA, Roxanne McDonald (Cook and Aunty) is descended from the Mandandanjii, Darambal and Kangalou tribes of Central Queensland, while director Wesley Enoch is from Stradbroke Island. With Sibylla Budd, Annie Byron and Russell Dykstra, this cast is powerful on stage and represents Enoch's picture of the past century: 'my grandparents' struggle for human rights . . . my parents' political struggle . . . my generation's stories of our cultural struggles – to know where we come from, have the right to speak our languages, the right to dance and to tell our stories.' In this Noongar story, chitty chitty – willy wagtail – is entertaining to watch but will get you into trouble if you follow his saucy dance.
Wouldn't it be great to see this production, and Company B regularly, at The Playhouse or The Street – in the nation's capital?
© Frank McKone M.A., F.A.C.E.
Canberra, Australia
Reviewed by Frank McKone
Previously published in the Canberra Times, September 2008.
There are nearly 5 million reasons why I don't want to live in Sydney, but one that makes me wish I did – that's Company B, Belvoir Street Theatre. However, matinees at 2pm Saturdays and 5pm Sundays are well worth the drive.
Yibiyung richly deserves the "continued commitment to the development and staging of Indigenous theatre and generous support of Indigenous creative artists" given by the Company B Chairman's Group. Winmar's 3rd play is not drama on a grand scale. It is an intimate story of a young Noongar woman, her own grandmother, taken from her family under the WA Aborigines Act 1905, which made the Chief Protector of Aborigines the legal guardian of all 'aboriginal' and 'half caste' children up to the age of 16.
At the end of Act 1, I was in tears not only because of the inhumanity of her treatment at the infamous Moore River Native Settlement, as much as at Yibiyung's loss of family and culture which were so necessary to her after the death of her mother. This was not fiction, but an indictment of the real history of girl No 454. At 14 she was sent into 'service' with the worst that could entail. Yet it was the Aboriginal injunction against marrying within one's own skin group which later she and her Smiley had to accept. Life in either culture is not easy romance.
Her escape from 'protection' was an act of independence and bravery. Despite everything, she succeeded in finding her uncle, her real protector, later to become the grandmother of the author, allowing us to leave the theatre feeling as proud of Yibiyung as Winmar herself.
Larrakia (Darwin) woman Miranda Tapsell (Yibiyung) is still at NIDA, Jimi Bani (Smiley) trained at WAAPA, Jada Alberts (Yibiyung's mother Yirrabin) trained at the Adelaide Centre for the Arts, David Page (Uncle) of Page 8 fame is a Queensland Murri, Melodie Reynolds (Djindi, Yibiyung's friend at Moore River) is a Wongi woman from WA, Roxanne McDonald (Cook and Aunty) is descended from the Mandandanjii, Darambal and Kangalou tribes of Central Queensland, while director Wesley Enoch is from Stradbroke Island. With Sibylla Budd, Annie Byron and Russell Dykstra, this cast is powerful on stage and represents Enoch's picture of the past century: 'my grandparents' struggle for human rights . . . my parents' political struggle . . . my generation's stories of our cultural struggles – to know where we come from, have the right to speak our languages, the right to dance and to tell our stories.' In this Noongar story, chitty chitty – willy wagtail – is entertaining to watch but will get you into trouble if you follow his saucy dance.
Wouldn't it be great to see this production, and Company B regularly, at The Playhouse or The Street – in the nation's capital?
© Frank McKone M.A., F.A.C.E.
Canberra, Australia
Thursday, 2 October 2008
2008: Perfect Cowboys in Action: A Perfect Mermaid by David Mamet, Cowboys #2 and Action by Sam Shepard
Perfect Cowboys in Action: A Perfect Mermaid by David Mamet, Cowboys #2 and Action by Sam Shepard. moonlight directed by Fiona Atkin at ANU Arts Centre Drama Lab, Thursday October 2 Saturday October 11. Tickets $15 / $12 at the door. Teatro Vivaldi dinner packages 6257 2718.
Absurdist comedy is the common feature of these three short plays. In each case, characters talk essentially because we human beings are unable to not use our unique recursive brains to reflect on our experiences and try to place ourselves somewhere sensible in our infinite ultimately unknowable universe.
Is the mermaid, supposedly seen while walking on the beach, with or without a tail, or a fish head? Does one suburban cowboy actually die from too much imagination, or perhaps from being hit by a truck? Can action, even gutting a fish, save us from destructive rage or continuous internal dialogue which stultifies action? What’s really going on in the lives of ordinary people like ourselves who can never stop thinking?
Fiona Atkin, currently undertaking doctoral research on Sam Shepard, has shown how to put academic study into theatrical shape. She, and her cast including Ben Williams, Duncan Ragg and Samantha Sangston, understand Mamet and Shepard’s philosophical and psychological world very well, though their characters cannot understand themselves. The effect is often very funny to watch, but less than comfortable to think about.
I came home to watch politicians and economic commentators trying to explain global financial volatility. moonlight’s Perfect Cowboys in Action was the perfect antidote for despair, helping to see the comedy in the absurdity. But then again, it’s hard not to lock on to the absurdity and wonder if that’s the only reality. This is not just an academic dilemma, but theatrically intriguing. Try not to miss it.
©Frank McKone, Canberra
Absurdist comedy is the common feature of these three short plays. In each case, characters talk essentially because we human beings are unable to not use our unique recursive brains to reflect on our experiences and try to place ourselves somewhere sensible in our infinite ultimately unknowable universe.
Is the mermaid, supposedly seen while walking on the beach, with or without a tail, or a fish head? Does one suburban cowboy actually die from too much imagination, or perhaps from being hit by a truck? Can action, even gutting a fish, save us from destructive rage or continuous internal dialogue which stultifies action? What’s really going on in the lives of ordinary people like ourselves who can never stop thinking?
Fiona Atkin, currently undertaking doctoral research on Sam Shepard, has shown how to put academic study into theatrical shape. She, and her cast including Ben Williams, Duncan Ragg and Samantha Sangston, understand Mamet and Shepard’s philosophical and psychological world very well, though their characters cannot understand themselves. The effect is often very funny to watch, but less than comfortable to think about.
I came home to watch politicians and economic commentators trying to explain global financial volatility. moonlight’s Perfect Cowboys in Action was the perfect antidote for despair, helping to see the comedy in the absurdity. But then again, it’s hard not to lock on to the absurdity and wonder if that’s the only reality. This is not just an academic dilemma, but theatrically intriguing. Try not to miss it.
©Frank McKone, Canberra
2008: Olivia! Oliver with a Twist by Malcolm Sircom
Olivia! Oliver with a Twist by Malcolm Sircom. Presented by Music for Everyone: Act up Sing out, directed by Nina Stevenson, musical director Rose Shorney. Belconnen Community Theatre, Wed 1 Oct 11am only, Thurs 2 Oct 11am & 7pm, Fri 3 Oct 11am & 3pm, Sat 4 Oct 3pm only, Sun 5 Oct 3pm only, Mon 6 Oct 3pm only, Tue 7 Oct 11am & 3pm, Wed 8 Oct 11am & 3pm. Bookings: Canberra Ticketing 02 6275 2700
The purpose of Music for Everyone in this production is to encourage children to sing, and at the same time to learn the important basics of stage production. Nina Stevenson proves to be just the right person to direct Olivia! with its traditional stage musical structure and comic devices. The result is an effective show which both enables the chldren on stage, ranging in age from 7 to 16, to learn performing technique, and provides for the mainly children in the audience a model which they may now wish to emulate.
The essential learning for the performers was clearly how to work as a highly cooperative team, become aware of each of their individual parts in relation to the whole, and how to maintain focus on performing in front of their peers. Even for adults an audience of feisty children can be a challenge, but this year’s Act up Sing out group hardly missed a beat.
Stevenson and choreographer Emma Tattam enhanced the original script by the adroit use of group movement, which I thought came to a great finale in Sircom’s scene imitating Gilbert and Sullivan’s Trial by Jury, rebadged here as Trial by Judge. Olivia (Georgina Davidson) becomes a star of the London stage as the supplicating criminal’s daughter with a nice touch of old-fashioned melodrama.
There were many promising performers, which included particularly Maddison Furner as Eliza Doolittle for her all round characterisaton, and Sarah English as Annie, whose singing voice is already pleasant and clear, without being forced. This was an important feature of the show, that the children sang with their natural voices without amplification. It’s pleasing to see Music for Everyone fulfilling its promise to our community.
©Frank McKone, Canberra
The purpose of Music for Everyone in this production is to encourage children to sing, and at the same time to learn the important basics of stage production. Nina Stevenson proves to be just the right person to direct Olivia! with its traditional stage musical structure and comic devices. The result is an effective show which both enables the chldren on stage, ranging in age from 7 to 16, to learn performing technique, and provides for the mainly children in the audience a model which they may now wish to emulate.
The essential learning for the performers was clearly how to work as a highly cooperative team, become aware of each of their individual parts in relation to the whole, and how to maintain focus on performing in front of their peers. Even for adults an audience of feisty children can be a challenge, but this year’s Act up Sing out group hardly missed a beat.
Stevenson and choreographer Emma Tattam enhanced the original script by the adroit use of group movement, which I thought came to a great finale in Sircom’s scene imitating Gilbert and Sullivan’s Trial by Jury, rebadged here as Trial by Judge. Olivia (Georgina Davidson) becomes a star of the London stage as the supplicating criminal’s daughter with a nice touch of old-fashioned melodrama.
There were many promising performers, which included particularly Maddison Furner as Eliza Doolittle for her all round characterisaton, and Sarah English as Annie, whose singing voice is already pleasant and clear, without being forced. This was an important feature of the show, that the children sang with their natural voices without amplification. It’s pleasing to see Music for Everyone fulfilling its promise to our community.
©Frank McKone, Canberra
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