Friday, 19 February 2021

2021: Cat on a Hot Tin Roof

 

Cat on a Hot Tin Roof by Tennessee Williams.  Canberra Repertory Theatre at Naoné Carrel Auditorium, Theatre 3, February 18-March 6, 2021.

Reviewed by Frank McKone
February 19

Director: Anne Somes
Associate Directors: Alexandra Pelvin, Antonia Kitzel

Set Designer: Cate Clelland
Sound Designer: Neville Pye
Lighting Designer: Stephen Still
Costume Designer: Fiona Leach

Cast:
Maggie “The Cat” Pollitt – Victoria Tyrrell Dixon
Brick Pollitt – Teig Sadhana
“Big Daddy” Pollitt – Michaels Parks OAM
Ida “Big Mamma” Pollitt – Liz St Clair Long
Mae “Sister Woman” Pollitt – Lainie Hart
Gooper “Brother Man” Pollitt – Ryan Erlandsen
Doctor Baugh – Rob Drennan
Reverend Tooker – Saban Lloyd Berrell



I hope that Canberra Rep will continue, every twenty years or so, to put on Tennessee Williams’ Cat on a Hot Tin Roof, to remind us how family life, sexual relations, money matters and sport are all tied up in the one terribly complicated knot.  This week I should also include a special reference to party politics and the treatment of women in a parliamentary democracy, which Williams could well have covered in his America in the 1950s.

The Rep 2021 production of Cat on a Hot Tin Roof is very good indeed, tied together even more tightly, I think, than in 2001.  (Reviewed in The Canberra Times, April 28 2001; available at www.frankmckone2.blogspot.com.au)  

Even if often with pro input, in an amateur repertory company it can be a matter of good luck to find a cast that suits all of Williamson’s expectations.  But the difference in quality in these two Rep productions is nothing like as great as some people see between the original movie and the later one (1984) with Tommy Lee Jones and Jessica Lange, Rip Torn, and Kim Stanley, described on Youtube as “True to Tennessee Williams's original play (unlike the awful Paul Newman / Elizabeth Taylor movie from 1958)”.

Rep’s casting, characterisation and consistency of team work in this presentation is particularly satisfying.  Even the great recent Sydney Theatre Company production (reviewed here May 19, 2019) could be seen as concentrating more on the stars – Pamela Rabe (Big Mama), Zahra Newman (Maggie) and Hugo Weaving (Big Daddy) – rather than giving as much status to Brick, Mae and Gooper.  At Rep last night I came away with an equal sense of the importance of each one of these six central characters, and the solid support of Rev Tooker and even from the small part of Dr Baugh.  Rather than being overwhelmed by Big Daddy and Maggie, I felt I understood better, and with more sympathy, not only their needs and why they behaved as they did; but also the relationships between the brothers Brick and Gooper, their wives Maggie and Mae, and the essential role in the whole family of Big Mamma.

When it comes to detail, Williams did not make casting easy.  At the risk of seeming sexist, for example, I have to say that when Williams makes Maggie stand before a full length mirror and point out that she has not lost her figure, Victoria Tyrrell Dixon absolutely looked the part.  How Teig Sadhana could make his Brick unresponsive was a small miracle as I saw it.  

According to www.sparknotes.com/drama/cat/summary  at the end “Maggie thanks Brick for saving her face [after announcing she and Brick are to have a child].  Brick puts down three shots, finds his click, and exits indifferently.  Maggie forlornly gathers Brick’s liquor bottles and locks them away, refusing to release it until he has sated her.  Desperately she declares her love for him.  The distant Brick can only reply: ‘Wouldn’t that be funny if that was true?’”

However, www.gradesaver.com/cat-on-a-hot-tin-roof/ says “In the published script, we are left entirely uncertain as to whether Brick will concede to sleep once more with Maggie and allow her to bear a child.  The text itself leads one to suspect that nothing is going to change, but with enough ambiguity that each production can choose for itself which ending will be implied.

“In the playing script, however [for the original Broadway production by Elia Kazan], Brick ends the act sitting on the bed – and although the dialogue is also quite different from the published script, it is this stage direction that significantly weights the dice in favor of Brick having a change of heart.”

Somebody said to me in the foyer on the way out: “Interesting ending!”  I felt glad with the ending Anne Somes chose.

And glad, too, that Michael Sparks played Big Daddy with an interesting mix of attitudes towards himself and Brick in their long duologue, in which I learned that he has more self-awareness than I had thought before.  It was a softer interpretation, and, I thought, opened up a better chance for interpersonal compromise.  This makes the play, firstly, perhaps more in tune with Tennessee Williams’ intention; and secondly makes it more hopeful for the future.

Perhaps this means that Williams was too hopeful, when we consider the experiences of Brittany Higgins, when she was a ministerial staffer in the Australian Parliament, and of others such as Dhanya Mani – whose article in The Saturday Paper February 20-26, 2021 is essential reading.

I must say that Ryan Erlandsen’s characterisation of Gooper, in tight formation with Lainie Hart’s Mae, gives me little hope that greed for money-grabbing is on the way out.  A certain Mark Zuckerberg, founder of Facebook and now threatening digital insurrection against the Australian democratic government, says that Tennessee Williams’ hope in this play that Brick would recover from his depression after the death of Skipper, and justifably inherit Big Daddy’s property, is no more than a romantic dream.  And maybe my dream will one day come true: when Big Daddies and Big Mummas – and Little Daddies and Little Mummas – learn to treat each other, and are treated by others, truly as equals.

Thank you all at Canberra Rep for such theatre, so well directed, designed and performed.


Canberra Repertory Theatre
Set Design by Cate Clelland
for Cat on a Hot Tin Roof by Tennessee Williams
February-March 2021
Photo: Helen Drum

 

 

 

 

 

 

 

Thursday, 18 February 2021

2021: Wolf Lullaby by Hillary Bell

 

 

Wolf Lullaby by Hilary Bell.  Echo Theatre at The Q, Queanbeyan Performing Arts Centre, February 18-27, 2021.

Reviewed by Frank McKone

February 18


Director: Jordan Best
Set Design and Construction: Chris Zuber; Lighting design: Jacob Aquilina; Sound Design/Composition: Matthew Webster; Props: Yanina Clifton

Cast:
Rachel Pengilly – Lizzie
Natasha Vickery – Lizzie’s mother, Angela
Joel Horwood – Warren, Lizzie’s father
Craig Alexander – small town police officer, Ray

At the very least this is an interesting play to begin our year of vaccination.  There are so many viewpoints to start from.  

The policeman, Ray, in some ways is a bit of a plodder: I can almost hear him say, with heavy sarcasm, “That’s a likely story!”  How likely? is a question I have to ask.

Then I must think about Hillary Bell’s intention in making up a story about a nine year old girl’s inner wolf and her parents.  Has Lizzie inherited a dangerous mental state from her mother?  Have Warren and Angela created an evil child through their fractious relationship?  Can we ever know ‘the truth’?  Is the application of criminal law the only way society can respond, if telling lies is truly a natural element of the human condition?

The directing and design of the telling of this story on this stage must be considered in the light of this likely or unlikely child’s tale with its philosophical implications.

Then I might be able to say if this innoculation against the fear of childhood killing has worked.  

The set design image which seemed to place most of the action behind the wire of something like a refugee detention centre stirred my questioning.  That central space became Lizzie’s bedroom, the police office, Angela’s living room, the police interrogation room, as well as the remand cell.  Perhaps the image represented the idea that all the people in their different ways were trapped in a chicken-wire cage, including Angela and her daughter because of their psychological conditions; Ray as he had to interrogate only according to the book; even the dead child Toby was in there behind the community’s commemoration flowers and poems placed outside the wire.

But apparently not Warren who was so often, conveniently, ‘on shift’, to pay for Angela’s and his separate rents, or when it was the weekend – the court-order time when his daughter stayed at his place – and the parents’ arguments took place in open space around the central raised set as if in the street where the children’s hopscotch pitch was laid out.  On the sides, left and right, words about murder were projected, becoming meaningful later as Ray’s interrogation ‘progressed’ and Lizzie’s parents worked out what their daughter might have done.

This set, combined with an ominous background sound track of children’s apocryphal skipping rhymes, disturbed me in two different ways.

First, as I suppose on reflection I was meant to feel, it all seemed to be an omen of doom.  

But I also felt there was a mismatch between this use of symbolic image and space and the seemingly naturalistic presentation of the characters.  Rachel Pengilly played her nine-year-old Lizzie so realistically that I found myself worrying that such a young actor was being allowed to play such psychological trauma – only to find when reading the program after the show that she is old enough to have a BA degree from University of New England.

Craig Alexander’s Ray, again naturalistically, played out the policeman’s conflict of feelings towards this local young girl, whose family he knew: he had unbending evidence-gathering rules to follow, while feeling at times sympathetic in a kindly adult way towards Lizzie’s telling lies, as well as feeling stressed by the frustration of not being able to extract the truth.

Similarly, the coming together and blowing apart episodes in Angela and Warren’s feelings about each other were realistic and very uncomfortable to watch.

After overnight reflection, I wonder if the set design, still without any need to set-change from short scene to short scene, would have been better if it represented a plain bland small room with a small desk, a chair and single bed, in which the naturalistic acting would feel normal instead of somehow out-of-place in the chicken-wire setting.  

By amazing coincidence, the image I have in mind appeared in Canberra’s CityNews on the very day of Wolf Lullaby’s opening night.  In a highly unlikely story, a significant artist, Melissa Beowulf, has painted “Cottage Room” 2018, representing the room in which she was held in remand at the Alexander Maconochie Centre for 14 months on a charge of murder (acquitted at her trial). [https://citynews.com.au/2021/digital-edition-february-18/  Page 28 in “Effects of injustice linger for ‘powerless’ painter” by arts editor Helen Musa]

 

Image courtesy of Melissa Beowulf
CityNews Digital Edition February 18, 2021 P28

The surround-sound of children’s rhymes would still make the point, and make us feel concerned about the violence inherent in many nursery rhymes.  The words that Lizzie supposedly wrote might have been better projected above the stage, rather as Tennessee Williams did in The Glass Menagerie.  A photo of the flowers and poems for Toby could be projected perhaps on the room window, as if on TV news, when the adults in the dialogue become aware of what Lizzie had written, and her words could appear as if the news camera had zoomed in.

Perhaps my reaction seems a bit old-fashioned, but I think the playscript and our need to come to grips with the truth of the story is unsettling in itself.  The mismatch in the set design was an extra layer which disturbed my focus on the characters and the implications of their experience, though the directing and performance in the acting was excellent.

In other words, Echo Theatre’s presentation of Hilary Bell’s Wolf Lullaby at The Q, Queanbeyan is an interesting production indeed.  Innoculation is advisable.

© Frank McKone, Canberra

Saturday, 6 February 2021

2021: Fangirls by Yve Blake

 

 

Fangirls -  Book, Music & Lyrics by Yve Blake.  Directed by Paige Rattray.
Belvoir St Theatre -  A co-production with Queensland Theatre and Brisbane Festival, in association with Australian Theatre for Young People (ATYP)

At Seymour Centre, University of Sydney, 30 January - 20 February 2021.  Also at
Canberra Playhouse 24-28 March 2021.

Reviewed by Frank McKone
February 6

Cast:

Aydan (Harry); Danielle Barnes; Chika Ikogwe (Jules); Shubshri Kandiah (Brianna); Ayesha Madon (Lily); James Majoos (Saltypringl); Sharon Millerchip (Mother); Karis Oka (Edna); Tomáš Kant or Shannen Alyce Quan

Creatives:

Book, Music & Lyrics Yve Blake
Director Paige Rattray
Original Music Director / Vocal Arranger Alice Chance
Music Producer / Sound Designer David Muratore
Dramaturg Jonathan Ware
Music Director / Vocal Arranger Zara Stanton
Set, Video Content and Costume Designer David Fleischer
Video Content Design and Production Justin Harrison
Lighting Designer Emma Valente
Choreographer Leonard Mickelo
Sound Designer Michael Waters
Associate Director: Carissa Licciardello
Associate Choreographer: Sharon Millerchip
Lighting Realiser: Renae Kenward
Stage Manager: Khym Scott
Assistant Stage Manager: Julia Orlando
Front of House Engineer: Matthew Erskine
Head Electrician: Steve Hendy
Technical Coordinator: Tom Houghton


My dictum has long been, for new plays and new productions of plays I already know, to avoid reading about them before I review.  Having missed Fangirls’ first runs in Brisbane and Sydney in late 2019, fortunately Covid confusion took over.  So when Belvoir announced its success and another season to begin 2021, I still knew little while checking in the Service NSW QR Code at the Seymour Centre yesterday.

What I love about theatre is being surprised.  Fangirls turned out to be a great and very rewarding surprise.

Of course, if you follow my dictum, you should at this point stop reading.  Just go and see for yourself.  Then you might like to read my thoughts to see if you agree.

Booking at Belvoir, I couldn’t miss the basic info:

“Edna’s fourteen and is head over heels in love with Harry- he’s beautiful, talented, perfect, but there’s just one problem: he’s also the star of the world’s biggest boyband. Getting Harry’s attention might seem impossible, but there’s nothing that Edna won’t do to prove to Harry that she’s the one.

Yve Blake’s uproarious musical makes its much-anticipated return.
”

Is this the show for me, I wondered, now I’m an octogenarian?  Surprise, surprise.  There’s much more than mere fun – the focus word in other publicity I had accidentally skimmed – in this seriously funny play.

When we became the pop-star show audience, (nearly everyone decades younger than me), and everyone did a Mexican wave with their phones lit up (I’d switched mine off, of course, as normal theatre convention requires), I began to think about the nature of theatrical illusion.

As the story developed, and Act I ended with a brief appearance on stage of a tied-up Harry, I was suddenly reminded of events in the real history of fandom.

In this story, Edna is from a single-parent family.  Her mother has to work, often long hours, and tries to provide everything her intellectual daughter needs.  Perhaps Edna falls in love with the publicity image of Harry, though she can’t afford to go to his concerts, because she has lost her father-figure.  We could get into Freudian psychology at this point, but this is not raised in this script.

However, Edna has won a scholarship which means she can continue in high school and meet up with another intellectual, a gay guy known as Saltypringl.  He becomes her adviser as she writes her story of how she will meet Harry; he will return her love when he looks into her eyes; and she will persuade him to ‘run’ with her to escape the pressure of fandom.  How can she put her story into practice, is her question to Salty.

What if, though, she can’t persuade Harry to run with her?  Salty takes a while to think things through, and at last says the only answer would be to kill him.  Where the Fangirls script has been essentially an amusing satire of fourteen-year-old girls’ behaviour to this point, in the second half the play becomes a farce.  

Edna can’t get to the concert, but she organises the kidnapping of Harry after the show; ties him up in her bedroom; tries to persuade him to run from the pressures of the fan culture; and ends up more or less accidentally killing him, in company with her two (less intellectual) girl friends. On their suggestion and with her mother’s help, the body is taken ‘to the woods’. Being a farce, in the very end we find that the girls were not jailed because the court could not believe that a girl could have done the kidnapping.  That is, it is implied that girls are not expected to be able to do things like that – only men can.

And so, Fangirls turns into an unexpected study of the destructive emotional and persuasive effects of popular fandom, while maintaining a political stance in favour of gender equality.  At the end last night the audience – with a clear majority of young women –  was still laughing uproariously and cheering the performers and the show for what it meant to them.

The cheering was absolutely justified for another surprise for me.  As a musical, the singing, dancing and acting was top quality; but the stunningly successful integration of the internet culture into the audio-visual design made this show relevant to a modern young audience far beyond anything I could have imagined.  

I may be 80; I may have seen earlier clunky attempts to use live digital effects which distract and undermine the work of the actors; I may have even seen very successful use of live camera work such as in Sydney Theatre Company’s Suddenly Last Summer; and in 2020 The Wharf Revue’s Good Night and Good Luck used pre-recorded video very effectively for getting the message across.  But Fangirls builds the video, sound and music into the live singing, acting and dancing – including scene changes and props – so well that this show becomes ‘total theatre’ of a most modern kind.

And what was it about the real history of the pressures of fandom that came to my mind as Harry’s head dropped forward in death?  By the late 1960s the Beatles had become disillusioned with the effects of fandom, and I remember the hordes of fourteen-year-old girls’ extreme emotional reactions which you can see in many video records, including some used in Fangirls so I have read.  But move on to the 1980s and read this about John Lennon’s death:

https://www.thoughtco.com/the-assassination-of-john-lennon-1779404

Mark David Chapman: From Drugs to Jesus

Chapman came to see himself as a real-life Holden Caulfield. He even told his wife he wanted to change his name to Holden Caulfield and would rage about the phoniness of people and of celebrities in particular.

Hatred of John Lennon

In October of 1980, Esquire magazine published a profile on John Lennon, which portrayed the former Beatle as a drug-addled millionaire recluse who had lost touch with his fans and his music. Chapman read the article with increasing anger and came to see Lennon as the ultimate hypocrite and a “phony” of the very type described in Salinger’s novel.

He began reading everything he could about John Lennon, even making tapes of Beatles’ songs, which he would play over and over for his wife, changing the tapes’ speed and direction. He would listen to them while sitting nude in the dark, chanting, “John Lennon, I’m going to kill you, you phony bastard!”

When Chapman discovered Lennon was planning to release a new album—his first in five years—his mind was made up. He would fly to New York City and shoot the singer.


My thinking was certainly a great surprise, with a new sense of dread, thanks to Fangirls.





The cast of Fangirls
Photo: Brett Boardman

© Frank McKone, Canberra






Saturday, 23 January 2021

2021: Kenny - on stage

 

 

Kenny adapted for stage by Steve Rodgers from the movie Kenny (2006) by Clayton and Shane Jacobson.  Ensemble Theatre, Sydney, January 15-27, 2021.

Reviewed by Frank McKone
January 23

Solo Performer – Ben Wood as Kenny Smythe

Director – Mark Kilmurry    Assistant Director – Warwick Doddrell

Designers:
Simone Romaniuk – Set & Costume
Damien Cooper – Lighting
Nate Edmondson – Composer & Sound
Mic Gruchy – Video

Photos by Prudence Upton

I arrived early, knowing everyone had to QR Covid check-in.  With time to spare, keeping my distance, I took a turn outside.  A pleasant cool sea breeze – Ensemble was once a boatshed – and a surprising announcement.  Welcome to IPSC, the International Portable Sanitation Convention.  Woops!  Isn’t Kenny on after all?
Ben Wood  as Kenny
Ensemble Theatre
Photo: Prudence Upton

Even more surprising when I find after the show that SPLASHdown Corporate Bathroom Rentals is real, and are given special thanks for their expert assistance. 

I guess that was for providing the portable toilet that Kenny persuaded an audience member, Paul, to put his arm down.  He had to retrieve the big stuff first – a bottle of wine as a reward for his bravery – until he found the wedding ring, just like the one Kenny had had to retrieve in his story of the woman who lost hers down the toot – and then couldn’t touch it, even though he sterilised it, until he wrapped it in toilet paper, leaving without thanking him because she couldn’t stand his smell.

We were, of course, all attending the IPS Convention.  Kenny was certainly the most entertaining keynote speaker I’ve ever come across.  In fact he came across as among the most humane and sincere.  

I have never seen the movie, I think fortunately.  In this adaptation, where Kenny tells us all about his experiences, and even his personal and family responses, in professionally providing and servicing portable toilets to large gatherings around the world – rather than our being voyeurs watching a movie – it seemed to me that Ben Wood was the real deal.  

At the end of this comedy with serious implications, I felt as much respect for the plumbers on whom we all rely – and for all those other frontline workers we have all become so suddenly aware of through this pandemic – as I felt for the actor.  Wood’s representation of all the layers of Kenny’s emotions, second by second, as he works directly with us as participants, was quite extraordinary.  When he showed us the slide of the women toilet cleaners – the Untouchables, of course – in India, I felt as everyone did around me, for their awful plight, with a sense of guilt for our easy lives.  Then, I realised, that Sulabh International, to whom Kenny asked us to consider donating, is real.

Sulabh International “is an India-based social service organization that works to promote human rights, environmental sanitation, non-conventional sources of energy, waste management and social reforms through education. The organization counts 50,000 volunteers.”  Suddenly Kenny and Ben Wood are one.  The fiction of theatre becomes real in the world.  [en.wikipedia.org/wiki/Sulabh_International]

I have noted before the work of Steve Rodgers in working directly with his audience in Duncan Macmillan’s Every Brilliant Thing at Belvoir (reviewed on this blog January 12, 2020) and I’m sure I see a link when Kenny gives out cards recording children’s responses to the question “What do you want to be when you grow up” for people in the audience to read out.  When it is revealed that none of them wanted to be a plumber, the point is made about dignity of the person and dignity in their work.

So this production of Kenny is both highly entertaining, as I’m sure the movie is, but even more engaging because of our personal interaction with Kenny’s very-Aussie character full of positive humour and because we become committed to humanitarian ideals like those of Sulabh International.

When I say “not to be missed”, I really mean it.  And am I glad to be back in a live theatre!

Ben Wood as Kenny
Ensemble Theatre
Photo: Prudence Upton

© Frank McKone, Canberra

Thursday, 21 January 2021

2021: Raise a Glass and Ruffle Some Feathers by Shortis & Simpson

 

 

Raise a Glass and Ruffle Some Feathers by Shortis & Simpson.  At Contentious Character Winery, Wamboin – near Queanbeyan, just in New South Wales over the border from Canberra, Australia’s Washington DC. January 21-23, 2021.

Reviewed by Frank McKone
January 21

The night begins with quality bubbly, hors d’oeuvres and delicious mains, accompanied by wines with unusual names of a contentious character, celebrated craftily in a song beginning Murder a Merlot, ending with Shades of Grape.  

Literally fully prepared for an S&S traditional satirical musical commentary, on this occasion covering the annus horribilis 2020, there was no hesitation about calling John and Moya back for a finger-wagging warning encore.  Drinks before dinner, drinks during dinner, and drinks after dinner, they sang, mean it will be a rednosed reindeer driving our sleigh tonight.

I made sure to drive home across the state border on a route where I knew the police were not checking if I had come from a hot-spot – a Covid-19 hot-spot, that it is – after an injection of Regeron, hydroxichloroquine and disinfectant like the boastful Donald Trump they sang about.  Actually a very smooth Pinot Grigio.  

Just fitting 'hydroxichloroquine' into the rhythm of a cheerful upbeat song shows John’s music and lyrics composing skill, the humour backed throughout the show by Moya’s quite amazing range of voice quality, and pitch varying from the deepest bass to tiny screech, in all-sorts of characters from Paul Robeson to children’s story-teller.

Shortis & Simpson have the light touch of an entertainment as members of our local community, with emotionally touching moments in their songs such as Smoke Gets In Your Vines for the winemakers and A Glimmer of Hope for native animals.  The summer bushfires a year ago cannot be forgotten.  But neither can the ongoing Covid-19 lockdowns in the sad song of the only chance once a week, putting out the garbage bins, for any excitement for their family and friends in Melbourne, in Another Tuesday Night in Brunswick.

Politics always gets a knowing laugh – about temporary acting-Prime Minister Michael Bloody McCormack (all sing together!), Mr Scomo giving the children an early mark, and the changing of just the word ‘one’ bringing us all together in the National Anthem.  Then there’s a deeper irony as John had prepared himself for the likelihood of more dramatic violence at the real Washington DC at 3am our time on the morning of the show.  The fading away of Donald Trump and the peaceful inauguration of President Biden called for a quiet contemplative poem, read with sincerity by Moya and followed by a beautiful Zoom choir toasting 2021.

Here I can only briefly touch on the variety presented in some 24 items in the two Acts, with sweets in between, of Raise a Glass and Ruffle Some Feathers.  Two more performances at Contentious Character Winery are already fully booked, but I would hope that ruffling feathers will continue, and raising a glass is a good way to do it.


© Frank McKone, Canberra




Monday, 18 January 2021

2021: Shakespeare in a Divided America

 

 

Design by Keenan
 

Shakespeare in a Divided America by James Shapiro.  Faber & Faber 2020.

Reviewed by Frank McKone
Monday January18, 2021

James Shapiro, Professor of English and Comparative Literature at Columbia University, has written the ultimate STEAM book.  Of course, Science, Technology, Engineering and Mathematics have their place as they should in this story of why the United States of America remain divided.  But the Arts – Shakespeare’s art, surprisingly – has the central role, as surely we all would want to claim for it.

“Be careful what you wish for, lest it come true!” as Aesop is said to have written in his Fables,  some two and a half thousand years ago.  On Wednesday this week, American time, as King Lear’s presidential career ends, in favour perhaps of Brutus, Shapiro’s study of Shakespeare in America explains what it means when we say every child must experience the arts throughout their education.

Shakespeare in a Divided America is essential reading, in my view, for all citizens and especially for those we choose to elect to our parliaments.  It is both a structurally dramatic work of art, exciting and surprising, while its academic research is telling.  Like Shakespeare himself – telling often what we might not like to know.

My characterisation of the outgoing president as King Lear is not in Shapiro’s book, published on 12 March 2020.  It will be interesting to see if Trump realises that so many who voted for him are Edmunds, Gonerils and Regans. Will he feel sad for the loss of those Fools who tried to tell him “Thou should’st not have been old till thou hadst been wise”.  And will we feel sad that he was never able to understand, receive and offer genuine love until too late?  Still wanting to believe Cordelia lives, as he dies politically, will Trump – as Shakespeare’s Lear perhaps seems to in his final madness –  realise that his obsessive self-centredness is the cause of her death and his failure?  

Shapiro’s story begins “… it was the election of Donald Trump in 2016 that convinced me to write about Shakespeare in a divided America….I wasn’t the only one turning to Shakespeare to make sense of the moment….On the eve of the election, Stephen Greenblatt published a powerful op-ed in the New York Times likening Trump to a Shakespearean tyrant….And a month after Trump was elected, Oscar Eustis, the artistic director of the Public Theater, decided to respond to this seismic event by directing a production of Julius Caesar the following summer at the Delacourte Theater…in Central Park.”

Since the open air theatre was built in 1962, “spectators – by now, more than 5 million – have flocked to see Free Shakespeare in the Park.  Fifty thousand more would see this timely Julius Caesar….That production and reactions to it, powerfully shaped my understanding of much of what follows in these pages….”

And my understanding of American culture, and the many roles played by Shakespeare in it, has been powerfully re-shaped by what followed.  The chapter titles, each centred on a date of significant change, must stir anyone’s thinking and raise our concerns about social harmony and conflict – past, present and future:

1833: Miscegenation
1845: Manifest Destiny
1849: Class Warfare
1865: Assassination
1916: Immigration
1948: Marriage

concluding with
2017: Left / Right

Australia’s story, of course, runs in parallel with America’s since their War of Independence of 1776.  That took place between Capt James Cook’s fateful arrival on Tasmania’s shore in 1770 and the redirection of Britain’s convicts from America to Australia with the appointment of Arthur Phillip as the first governor of New South Wales on 12 October 1786 – and his invasion with the First Fleet in 1789.

The close cultural connections between America and Australia, which we still perhaps take too much for granted, jump out of these pages, even though Shapiro writes entirely from the American viewpoint.  For example, being an immigrant here myself, directly from Britain, I have learned from “1916: Immigration” key points of new understanding about my Australian experience.  

In particular there is the interpretation of the nature of Caliban, from Shakespeare’s The Tempest, by Joseph Quincy Adams among many others:  “…in the person of Caliban, Shakespeare represented the treacherous nature of the natives, as reported by the colonists”, which supposes that Shakespeare knew of the new colony of Virginia. Caliban’s island was taken to be an island off the American east coast. Fake news of 1 November 1611, when The Tempest was first performed?  Maybe or maybe not: the colonists first landed there in 1607, but there’s no evidence that Shakespeare was aware of or interested in this.  

But, Shapiro notes, after compulsory education  for the young was instituted (beginning in 1852), and the study of Shakespeare’s plays was made a requirement, Adams could gratefully say in 1932, in his inaugural lecture opening the Folger Shakespeare Library, this was: “Fortunately about the time that the forces of immigration became a menace to the preservation of our long-established English civilization.”  

Restricting immigration via a literacy requirement came in 1917 and, writes Shapiro, the “anti-immigration forces achieved their ultimate goal: the institution of racially driven quotas in 1921, and even more restrictive ones in 1924, that would be the law of the land until overturned in 1965.”  A White America/Australia policy which took us until 1973 to overturn.  All the result of a glorified  racist dead-white male Shakespeare showing us the sub-human example of Caliban, never to be admitted into “our long-established English civilization”.  

So keep your wits about you when you wish for everyone to be educated in the arts.  James Shapiro has a surprise in every chapter, with amazing background details (I loved especially the story of the writing and many re-writings of Kiss Me, Kate) and concluding with what happened when Brutus, full of concern about preserving democracy but terribly anxious about using violence to do so, stabbed a Caesar who looked like Donald Trump in 2017.

As I would say of any top-class drama: not to be missed.

James Shapiro
Photo: Mary Cregan

© Frank McKone, Canberra

 

 

 

 

 

 

 

 

Thursday, 3 December 2020

2020: The Wharf Revue: Good Night and Good Luck

 

 

The Wharf Revue: Good Night and Good Luck.  By Jonathan Biggins, Drew Forsythe and Phillip Scott, co-directed by Jonathan Biggins and Drew Forsythe.  Musical director, Phillip Scott.

Sydney Theatre Company at Canberra Theatre Centre Playhouse December 1 – 19, 2020.

Reviewed by Frank McKone

December 1 


CAST
Jonathan Biggins, Mandy Bishop, Drew Forsythe, Phillip Scott.  Guest appearance by Lena Cruz.

DESIGNERS
Charles Davis – Designer; Matt Cox – Lighting; Nate Edmondson – Sound; Todd Decker – Video; Susie Henderson – Video Systems and Content.

Margaret Aston – Wigs; Scott Fisher – Costumes; Andrew Worboys – Music Tracks.

Rehearsal Photographer – Prudence Upton.



The End Of The Wharf As We Know It was how it all began in the year 2000.  The truth has finally caught up with the satire as the Sydney Theatre Company has now refurbished their original theatre Wharf 4/5, Walsh Bay, to open in 2021.  Now it really is Good Night and Good Luck.  Yet with sound Shakespearian internal character conflict in mind, like Hamlet, they say “all the refurbishment works have been designed with a heritage framework”.  We will still walk the long walk out over Sydney Harbour waters, but perhaps the old wooden cobblestone effect may now become a smoother journey.

So can The Wharf Revue be refurbished but retain its heritage value?  And can we hope to wake up next year after this year’s terrifically good night to an extension of our amazingly good luck to have had such sizzling political satire run for 20 years?  I certainly hope so.

Two particularly successful features of this year’s show are precursors of continuing theatrical refurbishment for The Wharf.  

The quality of incisive sharpness in the writing is not constrained (that’s the heritage) but the warmth of feeling, of horror, of empathy for New York under Covid attack with no presidential protection was a new sensation, crossing the line and back again from satire to tragedy.

Then, throughout the whole show, the technical quality, originality of content, as well as satirical precision in the actors’ performances in the video designs and presentations, though a continuation of this developing heritage from previous years, was a leap forward this year for womankind especially.  Amanda Bishop “first impersonated Julia Gillard as part of Waiting for Garnaut, the 2008 Wharf Revue” (Wikipedia), which I remember well, but her range on stage and screen in Good Night and Good Luck 12 years later is quite remarkable, in conjunction with Lena Cruz.

For this the video and selection of material work of Susie Henderson must receive the highest commendation.

The titles of the 17 items also show their heritage and update values.  “When We Get Back To Normal” shows these very authors right now in lockdown, absolutely bored, waiting for people to appear in the auditorium.  Ooops! They’re here!

Remember The Seekers?  Amanda Bishop goes down a treat as Judith Durham: will they ever find another job?  “Norman Swan” is our hero: the medicine we all so sorely need.  “How did you get here?” says one Virus to another; “On a cruise ship.”  How else?

Democracy is the “People’s Choice”.  Solos by Putin, Bolsonaro and the very weird Elton Jong with his highly informative history of the Jong Il family make unAustralian dictatorships very funny.  Australia gets what it deserves in “Koala”; “K Rudd” (a wonderful reprise by Drew Forsythe in Kevin’s reincarnation as Murdoch critic); the Liberal “Fawlty Towers”, leavened by “The Pauline Doctrine” and contrasted with the Labor “Cats in the Ranks”. Aotearoa’s “Jacinda Ardern” is heavenly perfection in comparison, while “The Sounds of Sirens” in New York are all that we hear in the silence.  A little light relief is provided by the New South Wales premier “Gladys”, taking us off to the wild west of the Donald – “The Man who shot Liberty”.

What a way to end!

If there’s anything we need more than hope this year, it’s laughter.  I hope there will be more in the future.  I’m sure there will be more to laugh at, and I just wish The Wharf Revue could go on forever.



The Wharf Revue in rehearsal
by Prudence Upton
L to R: Phillip Scott, Mandy Bishop, Jonathan Biggins, Drew Forsythe

© Frank McKone, Canberra

Thursday, 19 November 2020

2020: Absurd Person Singular by Alan Ayckbourn

 

 

Absurd Person Singular by Alan Ayckbourn.  Canberra Repertory Theatre at Naoné
 Carrel Auditorium, November 19 – December 5 2020.

Reviewed by Frank McKone
November 19


Director – Jarrad West; Assistant Director – Alice Ferguson
Set Design – Andrew Kay
Costume Realisation – Fiona Leach, Anna Senior, Antonia Kitzel, Members of Cast
Lighting Design – Nathan Sciberras; Sound Design – Neville Pye
Properties – Brenton Warren, Rosanne Walker

Cast, in order of appearance:

Sidney Hopcroft – Arran McKenna – an entirely self-centred developer going up
Jane Hopcroft – Amy Dunham – housewife extraordinaire, hanging on
Ronald Brewster-Wright – Chris Baldock – an incompetent banker going down
Marion Brewster-Wright – Tracy Noble – going down with her husband
Geoffrey Jackson – Cole Hilder – unsuccessful architect going nowhere
Eva Jackson – Steph Roberts – up, down and up as an independent woman

There was plenty of sanitiser on hand in the foyer to help protect us from the current physical virus.  Canberra REP on stage sanitised us with hope against the absurdity of human behaviour in a tightly-focussed, expertly performed production of this British writer’s most significant play.

The Arts and Entertainment are often blithely dropped together into a bland ‘Industry’ box on a bureaucratic office floor.  But entertainment without art is just another form of virus.  Art is the vaccine we need.  Better than mere surface sanitising, theatre art injects sanity into our veins.  Canberra REP emphasises that this is an amateur production, but their artistry – through casting, directing, and design – makes Absurd Person Singular into Entertainment +.  It’s a great pity that the reality of the physical virus restricts the number who can see the play.

Each actor establishes the central through-line of their character, so that they appear to be real; yet each brilliantly uses the techniques of farce which makes each of the three Christmases so disastrous and horribly funny.  Scene 1 in the Hobcroft kitchen sets us up for the comedy; Scene 2 in the Jackson flat pushes absurdity to the edge of a black abyss; then in the Brewster-Wrights’ completely dysfunctional household, Scene 3 turns into an awful satire in singing the carol’s words My True Love Gave To Me (The Twelve Days of Christmas).

Ayckbourn has made the three men’s characters relatively less demanding to act, since they represent, each in their own way, men who are incapable of insight and personal development.  Arran McKenna’s Sidney is essentially dictatorial in personal and social situations, even when it’s the fun of Christmas games that he’s imposing on others.  Chris Baldock captures a kind of ennui in Ronald, even when he seems to open up a little to Geoffrey before the final scene becomes disastrous.  Cole Hilder has the most complex part to play – and does it very well, particularly in Geoffrey’s frustration with his wife’s complete switch-off in Scene 2.

The women’s characters, in contrast, each develop in ways which I see as comments on the complexity of life that women face.  Amy Dunham’s Jane begins seemingly as a caricature of the standard perfectionist housewife, but as she has to deal with that impossibility when she becomes trapped outside in England’s incessant rain, and sees that cleaning Eva’s oven is not the answer in Scene 2, by the third Christmas she has learnt to come to terms with playing the game alongside Sidney even though she loses her own identity in doing so.  

Tracy Noble reveals in Scene 1 that her Marion half-knows that putting on her airs is a kind of protective sham.  In Scene 2 she sees where Eva is going into the depths.  By her third Christmas, alcohol is her only defence – her only way of giving herself identity, even as it is self-destructive.  The change is awful to watch.

In presenting Eva, Steph Roberts has perhaps the greatest work to do.  In Scene 1 she is strong but frustrated by her husband’s ineptitude.  A year later she is almost catatonic and is only saved from suicide by chance.  But the experience shows her that she has the right to be herself on her own terms, and she sings in some degree of hope in the end for where she might go (though not necessarily with Geoffrey, I suspect).

The measure of an artful entertainment, in the case of an absurdist satirical farce, is that the characters remain memorable in their own right, and we are left with hope for humanity, despite laughing so much at such ordinary kinds of behaviours.

That is success for the whole production team, and a gong for our long-standing local repertory theatre in Canberra, where, as Jarrad West reports, “I have loved this play since I was a little boy, when my mother performed as Jane in the mid 90’s.  To be able to now bring it to life on the REP stage again some 30 years later is one of the bright spots of this year.”  Community life is something to be enjoyed and valued, and at the risk of showing bias, I can report that a bright spot for me is to see on stage the daughter of the students I taught back in 1976-77, Amy Dunham, now described as “a seasoned Canberran performer for the last 23 years, with multiple leads across a wide range of plays and musicals”.

Alan Ayckbourn intended his play to be more broadly political – about property development and speculation that was rife at that time, the 1970s, in the UK – as well as about marriage relationships.  Today, we are in the midst of an absurdist election count in the United States, arguments over lockdown to save lives against opening up the economy and being “Covid normal”, and reports all over the news in Australia of our “Day of Shame” war crimes inquiry (‘Rules were broken.  Stories concocted.  Lies told.  Prisoners killed’ in Afghanistan), with a comment that “When General [Angus] Campbell says that members of special forces did extraordinary work in Afghanistan he’s not trying to sanitise the ADF of what happened”.  (Harley Dennett, The Canberra Times, Friday November 20, 2020 Page 8).  

Being able to go to the theatre, at last, even with Covid limitations, and know that our arts organisations can still put on such shows as Canberra REP’s Absurd Person Singular is not only entertaining but is a comfort and represents hope for the future.

© Frank McKone, Canberra

Thursday, 1 October 2020

2020: Mess - directed by Natsuko Yonezawa

 

 

Mess – A Belco Arts Production at Belconnen Arts Centre Theatre, Canberra, October 1-2, 2020.  

Reviewed by Frank McKone

 
Next production: intimacy October 22-23, 2020.  
Tel: 02 6173 3300 www.belcoarts.com.au

Natsuko Yonezawa – Director/Performer;
Christopher Samuel Carroll – Performer/Collaborator;
Miriam Slater – Performer/Collaborator;
Marline Claudine Radice – Composer/Live Musician;
Chenoeh Miller – Producer/Assistant Director;
byrd – Set Designer;
Linda Buck – Lighting Designer (Belco Arts’ Technical Manager)
Anni Doyle Wawrzynczak – Stage Manager
Kyle Sheedy – Audio Operator
Shan Crosbie & Skye Rutherford – Marketing & Promotion

With carefully managed Covid-19 social distancing, the brand new Belconnen Arts Centre Theatre presented its second production to a limited audience of 58, spaced out in three rows along each side of a long quite narrow performing area, its floor polished to mirror reflection quality: a symbol in its own right, reflecting a quality production.

The shadowy dimly lit corridor waits empty of living beings except for, at one end with her back to us, we notice a woman in sinuous red is making slow small movements of her shoulders, arms and hands.  As she fades out of the acting space, small percussion sounds begin and she is replaced by the composer as something like an earth-mother figure, now producing disturbing keening woodwind whistles.

As she too fades back and a soundscape surrounds us surruptitiously, in a kind of musique concrète form, two figures – male and female – each in non-descript greyish loose clothing enter from opposite ends and action begins.  Like an extension and exaggeration of the movements of the original woman in red, these two do not speak or make any sounds throughout the whole performance.  They are clearly not in communication, perhaps not able to be in communication with each other when they enter.  We wait, watching the detail of their movements and the feelings they apparently express, and wonder – will this isolation reach some point of fruitful life?

Of course, it’s not my role here to be a spoiler.

For me personally, the concentrated detailed movement work of Miriam Slater and Christopher Samuel Carroll was fascinating and absorbing in a special way.  In my teaching days I was lucky indeed to have been taught by Anton Witsel, one time member of the Nederlands Ballet and student of French mime artists Jean-Louis Barrault and Jacques Lecoq.  I had also taught a Japanese exchange student at one time, stirring up my interest in Noh drama, Kabuki and Butoh dance; and I had separately found the teachings of Rudolph Laban especially effective in teaching movement as the basis of drama to my students.

So to see these performers demonstrating like a masterclass how to make elements of movement – never quite mime, not exactly dance – into what could look like powerfully creative improvisation, in concert with sound and light, rather than either being in merely response to the other, was a wonderful experience.  It is so good to see work of this depth in this new theatre.  I trust that Belco Arts will keep up the good work.

And, almost by the way, I think Natsuko Yonezawa has a positive view despite the ‘mess’ of lockdown.

© Frank McKone, Canberra

Saturday, 22 August 2020

2020: A Room Made of Leaves - novel by Kate Grenville

 

 

 

 A Room Made of Leaves by Kate Grenville.  Jacket image by Lisla/Shutterstock.  Text Publishing, Melbourne, July 2020.

Reviewed by Frank McKone


Each of the three novels, Hamnet, Truganini and A Room Made of Leaves, respectively by Maggie O'Farrell, Cassandra Pybus and Kate Grenville, focusses our attention on a woman – significant in history but unknown to us as a real person.

In each case her “disappearance” is because of a man in her life who shines in the limelight of history.  Agnes, or Anne, was the wife of William Shakespeare; Truganini was the guide assisting George Augustus Robinson; Elizabeth was the wife of John Macarthur.  We appreciate Shakespeare for his playwriting; Robinson for trying to save Tasmania’s original people, according to his own lights; and Macarthur for establishing Australia’s wool industry.

Each of the three women authors starts from the premise that these men lived in highly personal relationships with these women.  Without coming to know those lives as lived by the women, are we seeing only one side of the history we are taught and have come to accept as sufficient?  Might not the women’s stories, experienced by us imaginatively from within, reveal another view of history?

The answer by each author in her own way, is Yes – indeed!

Myths grow on men in history like lichen on ancient rocks; women of all ages have to live in a different moving reality.  These works are novels, drawing on the authors’ knowledge as women; and their historical research – though remarkably extensive in each case – has to be presented as if it is fiction, since their characters’ actual personal records have disappeared.

It is in the creation of the characters of Agnes, Truganini and Elizabeth that we come to understand them as people first.  Then, in their roles as wife or guide, we see through the men’s auras, scraping away the patina, to see a new kind of truth.

I reviewed Truganini first (8 May 2020), fascinated by this First Nations woman of such self-determination, strength of character and cross-cultural diplomatic sensibility.  I knew of Hamnet only as William Shakespeare’s son, who died aged 11.  I had no preconception of his mother who made her life her own, including in her mid-twenties marrying an 18-year-old Latin tutor.  Nor how she and her often away from home husband came to terms with Hamnet’s death. (Reviewed here 19 June 2020)

And now, just published in July,  as if by magic, I’m led to believe that Elizabeth née Veale had been born and brought up in Devonshire, not far from my own favourite haunts as a child, though pigs happened to be more in my purview than sheep.  And so I was under way, with a touch of Jane Austen, into the life of this young woman needing to marry into some kind of regular income.

And what a woman, who, with all her wits about her when she has reached about three score years and twenty, living in Australia, just like me now, writes up her life and leaves her story hidden in Elizabeth Farm, Parramatta.  I don’t have her wits, but I’m sure that Kate Grenville does.  The “transcriber and editor”, as Grenville describes herself, writes of Elizabeth Macarthur: “In these private papers, written near the end of her life, she steps out from behind the bland documents that were her public face.  They’re a series of hot outpourings, pellets of memory lit by passionate feeling.  With sometimes shocking frankness, they invite us to see right through into her heart.”

Some readers may find it hard to accept Grenville’s subterfuge.  But, in effect, this apparently advertorial “quote” lays out her intention in this novel.  I believe she achieves her aim most powerfully.  Not only do we experience what surely must have been the reality of Elizabeth Macarthur’s life from a child taught so much by her sheep-farming grandfather to a woman without whom the development of the Australian Merino wool industry would never have happened, but we come to understand, as her character grows, the awful contrast between the emotional ineptness of a man like John Macarthur and the emotional maturity and subtlety needed to be learnt by a woman in the position of such a man’s wife.

It is in this understanding that Grenville’s work matches the creation of the characters of Agnes by O’Farrell and of Truganini by Pybus.  William Shakespeare and George Augustus Robinson are quite different men from John Macarthur and each other, of course.  Each of the three authors cleverly reveal the nature of those particular men, through each woman’s eyes, but each of the women have the same basic issue to deal with.

As, surely, all women do.  Agnes, Truganini and Elizabeth are wonderful models of real people in history – women from whom men can learn, as I hope I have myself.  Each of them are different, too.  From Agnes I think of her originality of approach; from Truganini her vivacity in youth and dignity in old age; from Elizabeth her growing self-awareness.

From all three it is the importance of women’s self-determination that stands out.  Disappearing from history should be no woman’s fate.  

In this sense, all three books are political – A Room Made of Leaves perhaps more overtly, in Grenville’s characterisation of Elizabeth Macarthur who seems to have been so much more deliberately written out of the record, in favour of the scoundrel, John Macarthur.  Many surprises await you in this novel approach to what really happened in the penal colony, according to this "truly incredible and strangely little-known story: How Elizabeth Macarthur's long-lost secret memoirs were discovered."

© Frank McKone, Canberra

Friday, 19 June 2020

2020: Hamnet by Maggie O'Farrell




Truckle Bed and Crib
Shakespeare's Birthplace, Stratford-on-Avon
Photo: Meg McKone, May 2017

Hamnet by Maggie O’Farrell.  Tinder Press, UK 2020.

Reviewed by Frank McKone



In 1981 a small group of my students decided they would present a ‘poor theatre’ Hamlet in our Drama Studio.  For several weeks they read, absorbed and discussed Shakespeare’s four-hour long script.  “We are not interested in the Rotten State of Denmark,” they said.  “It’s a play about two families.  There’s Hamlet and his relationships with his mother, his father and his uncle.  Then there’s Ophelia and her relationships with her father and her brother – and with Hamlet.”  Then they instructed me to spend the upcoming two-week vacation cutting out the politics and other extraneous material to produce a focussed family drama under two hours long.

Reading O’Farrell’s Hamnet took me back to the intensity of that exercise – and opened up my thinking about Shakespeare’s work in a completely unexpected way.  I had often wondered about his family life somewhere in the background of his artistic development, from the early comedies through the histories to the symbolism of The Tempest. 

Hamlet always seemed an outlier: O’Farrell’s remarkable imagination tells us why, in her story of Hamnet and his relationship with his mother Agnes, his father William, his sisters, his uncles and aunts, and even his grandparents – of the families of Agnes of Hewlands Farm and William, son of Stratford town glovemaker John Shakespeare.  Her re-creation of their lives, of necessity fictional, is surely the most wonderful telling of truths by any modern author.

I would wish that this novel should not be seen as merely adding to the pile of publications about William Shakespeare. It stands in its own right as a novel, stimulated to be sure by the mysteries that surround the famous playwright.  But it is the story of a woman whose son dies unfathomably at the age of eleven; a woman of powerful emotions and understanding matching her husband – like her, he must also take his own direction.  Each must establish their own independent lives. 

Set as it is in the insecure world of the late 16th Century, even ironically still subject to the bubonic plague after 300 years, just as we suddenly face an unpredictable Covid-19,  reading what Agnes thinks, feels and does is absolutely as relevant in today’s world as in hers.  The strength of O’Farrell’s writing is in her ability to take us into the minds of her characters using a surprisingly simple technique.

When I read the first chapter I was taken aback, at first feeling I was made to stand back, and yet at a close-up distance, as if I were invading the space and perhaps the privacy of Hamnet: “Near the bottom [of a flight of stairs], he pauses for a moment, looking back the way he has come.  Then, suddenly resolute, he leaps the final three stairs, as is his habit.  He stumbles as he lands, falling to his knees on the flagstone floor.”

But, before long, this objective descriptive writing, always in the present tense, revealed within it a gradual understanding on my part of this person’s understanding of himself.  He has come in, but no-one is home: “The boy opens his mouth.  He calls the names, one by one, of all the people who live here, in this house.  His grandmother.  The maid.  His uncles.  His aunt.  The apprentice.  His grandfather.  The boy tries them all, one after another.  For a moment, it crosses his mind to call his father’s name, to shout for him, but his father is miles and hours and days away, in London, where the boy has never been.”

And so we, reading, begin to see; to catch a passing feeling; start to think we know what is happening.  On Page 367, we realise, yes – now we know!

For a final bow to the author, her other technical device needs special praise.  I call it ‘back stitching time'.  Chapter 2 takes us back 15 years before Chapter 1; Chapter 3 begins where Chapter 1 had ended.  But this is hand sewing, not machine.  Over the sewing of the seam that is the whole story, the stitching goes backwards and forwards.  Sewing tips online tell me the back stitch ‘is one of the strongest and most durable stitches, making it very reliable’.

But creating a strong seam is not the whole story.  Earlier time chapters bit by bit catch up to the present until everything comes together at the end in a way that I can only describe as highly satisfying.  The effect, rather than mere strength in story-line, is as if a three-dimensional sculpture is built up until the shape is completed with the final words.  The work of art is finished.

Maggie O’Farrell deserves every accolade for creating fine art thoroughly in keeping with that of Hamnet’s father, and true to the memory of Hamnet’s mother.


© Frank McKone, Canberra

Friday, 5 June 2020

2020: Theatre Network Australia - June 2020

Posted by Frank McKone
 
TNA E-News June 2020

We acknowledge that Australia and its performing arts industry have much to do and learn in committing to racial justice. We stand in solidarity with communities who are the survivors of racism, and more specifically First Nations people of this country.

TNA STUFF

We need your help today!
TNA and our colleagues believe that the federal government is working on final details of a support package for the arts this weekend. It will help if TNA subscribers ask your local MP (especially if they're from the Liberal or National parties) to support such a package. The arts is the second hardest hit industry. TNA has called for a $70m package for the Australia Council to support independents and non-profit companies. We also support LPA's $345m plan to restart and rebuild the live performance industry.

Thursday, 28 May 2020

2020: Ensemble Conversations

Ben Wood in his upcoming role as Kenny
Ensemble Theatre Conversations  http://www.ensemble.com.au/discover/ensemble-conversations/

Media Contact: Susanne Briggs 0412 268 320 or susanne@ensemble.com.au


Commentary by Frank McKone
May 28

Led by Ensemble Theatre’s Artistic Director Mark Kilmurry, each week people can tune in on Facebook for Ensemble Theatre’s latest news and a glimpse behind the scenes.

Ensemble Conversations features interviews with actors and creatives, exclusive scene reads, interactive Q&A sessions and more. Ensemble Ambassadors Georgie Parker, Todd McKenney, Kate Raison and Brian Meegan, writer Melanie Tait, director Priscilla Jackman and actor Ben Wood were the first to start the brand new series answering questions about the world of theatre and television
followed so far by actor Sharon Millerchip, writer Joanna Murray-Smith, director Kate Champion and this year’s Sydney Festival director, proud Noonuccal Nuugi man, Wesley Enoch.


Georgie Parker
Mark Kilmurry, Ben Smith
Melanie Tait, Priscilla Jackson

Kate Raison, Brian Meegan



Todd McKenney

Mark Kilmurry, Sharon Millerchip

Mark Kilmurry, Kate Champion
Joanna Murray-Smith appeared on a separate screen
While theatres are unable to stage shows for full-audience live performances, many like The Street, in Canberra, and Sydney Theatre Company, Belvoir and others in Sydney, are presenting live-streaming events.  Ensemble’s Conversations are not performances, in the ordinary sense, so this is not a formal review, and I admit my bias here.

Ensemble Theatre, “Australia's longest continuously running professional theatre group, having given its first performance in Cammeray Children's Library on 11 May 1958. ... was founded by Hayes Gordon AO OBE along with the Ensemble Studios acting school, which introduced Stanislavsky-influenced method acting to Australia” has always been a place where I have felt personally connected – including having a nephew who trained there, a student who teched there in the 1980s, and one-time student, now actor/writer/director Steve Rodgers who performed in The Odd Couple at the Ensemble last November and is currently adapting for stage the Jacobson Brothers’ Kenny, in rehearsal now but delayed by coronavirus.

Though I was never directly involved in the company, in the late 1960s I took students to see Hayes Gordon directing in rehearsal, and sat on a NSW Department of Education panel chaired by Sandra Bates (to whom Hayes later passed on the role of artistic director) to design the state’s first high school drama teaching studios.  This experience helped inform my work in the 1970s setting up and teaching drama in Canberra; while more recently as a reviewer I have followed David Williamson’s productions at the Ensemble which has become his favoured small theatre especially since Sandra directed Face to Face in 2000.  (https://frankmckone2.blogspot.com/2000/03/2000-face-to-face-by-david-williamson.html)

So I am happy, and certainly not surprised, to watch the current artistic director, Mark Kilmurry, having such personal family-like conversations with actors, writers and directors.  The atmosphere of friendly cooperation among practical people putting on plays, without being pedantic or seeking fame, is my Ensemble – yet these conversations are anything but mere theatre gossip.

Mark is an interviewer to the extent that he has in mind a series of similar questions for each conversation, but because he has often acted with, directed or worked with each of his colleagues, the questions are put in the context of a particular production,  rehearsal or development process.

For viewers with little if any backstage experience, the conversations are thoroughly enjoyable while also providing a new insight into what writers, actors and directors of live stage works actually do to create quality theatre.

Especially important, I think, is to show how much brainwork is involved in playing roles, knowing the boundaries between role-playing and non-acting states, and in creatively playing with social cues expressed in words and movement.  Georgie Parker emphasises the process of researching a character, for instance, and also spoke about the differences between acting on camera for television or film compared with being on stage with an audience, and explained how she finds stage more satisfying.  Ben Wood talks of how good writers give the actor words with a rhythm and timing which create the moments when a feeling ‘lands’ and spreads throughout the audience, sometimes in laughter, sometimes in silence.  Either is as satisfying for the actor, whether it be written by Shakespeare, David Williamson or for his recent role as Henry VIII in The Last Wife by Kate Hennig (reviewed here September 2019).

Today, May 28, Wesley Enoch – in isolation during Reconciliation Week – says: “I miss being close to people, telling their stories.”  For this, he explains, we need live theatre rather than screens.

The series of Ensemble Conversations continues while Convid-19 rages.

Mark Kilmurry, Wesley Enoch

 © Frank McKone, Canberra








Friday, 8 May 2020

2020: Truganini by Cassandra Pybus

Truganini – Journey through the apocalypse by Cassandra Pybus.  Allen & Unwin, 2020.

Reviewed by Frank McKone

Maps by Guy Holt
By permission of the publishers.


“Cassandra Pybus is an award-winning author and a distinguished historian.  She is the author of twelve books and has held research professorships at the University of Sydney, Georgetown University in Washington DC, the University of Texas and Kings College, London.  She is descended from the colonist who received the largest free land grant on Truganini’s traditional country of Bruny Island.”  (Title Page)
Tasmania: South-east Nation - Nuenonne Clan on Bruny Island
Map: Guy Holt


 “Staring out over the mudflats [from near Oyster Cove] to the D’Entrecasteaux Channel at what had once been my family’s land on North Bruny Island, my emotions were in havoc….  I opened the gate [of the faded turquoise cottage, where] my uncle Ken welcomed me as if I had never been away.  Over a cup of tea, he told me that the place was getting too much for him, so I arranged to buy it from him, then and there.

"For the past thirty-four years the place I call home has been that cottage on the old station road in the country of the Nuenonne."  Page 268.

______________________________________________


Reading between the time in 1828 when Richard Pybus was settled on his 500 acres land grant, when Truganini was probably about 16, to the time she died on 4 May 1876, Cassandra Pybus’ story-telling gave me that feeling – as if I had never been away.  Knowing, too, that her research is absolutely meticulous left me also with my emotions ‘in havoc’ as she goes on to describe them – “nothing as intimate and corrosive as guilt, just a powerful sense of complicity in the dispossession, destruction and denial that this dismal place represented”.

Truganini – Journey through the apocalypse is essential reading for all Australians; indeed for all people the world over.  I should start with my own experience.

My English parents migrated to Australia in 1955, when I was 14.  My Geography text book had taught me, in one distant black and white photo, that Australian Aborigines lived in a desert and wore almost no clothes.  Big city newspapers I read at Australia House in London headlined murders seemingly every day.  Dangerous?  Well…my father had taught me how to avoid the Teddy Boys in London, population 10 million - equal to that of the whole of Australia at that time.

If Aboriginal people appeared, they were cartoon characters who apparently lived in deserts with few clothes on.  In other words my understanding on arrival was no different from that of James Cook on his third voyage, except that he actually met the people at Adventure Bay, on the seaward side of Bruny Island, 29 January 1777.  Truganini’s father, Manganerer, was there.

The Captain Cook Society website at
 https://www.captaincooksociety.com/home/detail/225-years-ago-january-march-1777 
records that John Henry Martin, seaman on the Discovery, described the natives. "They have few, or no wants, & seemed perfectly Happy, if one might judge from their behaviour, for they frequently wou'd burst out, into the most immoderate fits of Laughter & when one Laughed every one followed his example Emediately."

But, as Pybus explains, “Cook was unaware that these people believed they were meeting their own dead returning as pale shadows of their former selves.  Being treated as some kind of kin, rather than as trespassing aliens, Cook and his officers were not to witness the fierce territorial attachment of the Nuenonne to their country.”

Of course, I immediately thought of what happened in Hawaii only two years later, when Cook was killed on 14 February 1779.  I think the brief mention at
https://www.seattletimes.com/entertainment/books/the-death-of-captain-cook-misunderstanding-and-murder   
by Irene Wanner of the book by Glyn Williams: “The Death of Captain Cook: A Hero Made and Unmade” will lead you into that story of misunderstanding.

I began to realise that I was going to learn far more than I thought I knew already by reading on – about what happened to the daughter of the man with childhood memories of Captain Cook.  Usually, I write reviews of live theatre, where I am responding to immediate experience.  The Convid-19 virus has put paid – or rather, unpaid – to that.  Cassandra Pybus may be a distinguished historian, but she is also a powerful creative writer, adept at creating drama.

A paragraph chosen at random, 97 pages in:  Stopping to rest about a quarter of a mile inland from the mouth of the Boobyalla River, Truganini made an unsettling discovery.  While gathering swan’s eggs for Wooredy to eat, she became curious about a deep indentation in the ground, and after digging further into the hole she uncovered an old wooden chest that contained a jumble of human bones.  Days later, at the mouth of the Tomahawk River, she saw two bleached male skeletons lying a few hundred yards apart that no one had tried to hide.  Awful though it was, Truganini had seem similar sights before – the beaches and inlets of the north-east corner were repositories of many human bones, invariably male and often shattered by a musket ball.

This is not the stuff of romantic or ‘horror’ fiction.  This is true history.  The word that comes to mind for Pybus’ writing is honesty.

This quality is especially significant in her dealing with the extensive, thoroughly detailed diaries, or log books, kept by the man officially credited by the colonial government for the removal of the last Aboriginal people from Tasmania – George Augustus Robinson.  His first land grant was adjacent to the Pybus grant in Nuenonne country.

The timeline provided in the book after Truganini’s story has been told is an excellent reminder of important dates and episodes.  It begins in 1804 with the establishment of the penal settlement on the Derwent River, later named Hobart.  By the time of Truganini’s likely birth in 1812 “the Nuenonne clan was diminished and traumatised” and “no longer ‘without jealousy of strangers’; they no longer saw the ghost men as their kin.”

It is best, I found, to leave reading the timeline until after allowing the experience of becoming immersed in the story to seep through beyond your consciousness of historical detail to your emotional state in response.  This is why when reviewing a stage play, I prefer not to read the program or interview the director or cast beforehand.  It is the immediacy of my thoughts and feelings that I need to express.

George Augustus Robinson saw himself as a good man who wanted to save the original people at first from themselves and then from the inevitable ravages of the invading colonists.  To “lift them from their state of savage ignorance” required them to “put their trust in God, he told them, and, by extension, in him, George Augustus Robinson: the good father sent to save them from obliteration.”  As in a good play, it is not so much in the plot, but in the characters and their relationships that the drama unfolds of the decade-long story of how Truganini played her part from Robinson’s first noticing her in 1829, “impressed with this young woman’s obvious intelligence and grasp of English”, to the transporting of people from all the clans in Tasmania to Flinders Island by 1835, and how Robinson’s attempt to move them finally to the Australian mainland at Port Phillip (Melbourne) failed by 1841.

The final chapter is the denouement after that climactic point, simply titled The Way the World Ends, taking us through to the point where Truganini becomes famous as ‘the last Tasmanian Aboriginal’.  If you were taught, as I was, that this was true, you will think again, about the cast of all the people in Truganini’s life from her Nuenonne father Manganerer, of the South-east Nation, through to all those others from the many clans within the South-west, Oyster Bay, North Midland, North-east, Ben Lomond, North, North-west and Big River Nations.  Their individual biographies take up an extra 30 pages of absorbing reading.
Tasmania: Indigenous Nations' Boundaries
Map: Guy Holt
“Driven to distraction by rising hysteria” the farming ‘settlers’ attempted, finally with official support authorised by Governor George Arthur by proclaiming martial law in 1828 and the Black Line of 1830, to remove the original owners by out-and-out murder.  G A Robinson believed, with the help of the Nuenonne clan, he could walk all around and across Van Dieman’s Land and persuade personally everyone still living on country to accept him as their saviour, accept his command, and go with him to places of safety – which in the end would mean on an island off-shore away from the temptation to return.

https://www.tandfonline.com/doi/abs/10.1080/14443058.2012.760213?journalCode=rjau20
See The Black Line in Van Diemen's Land (Tasmania), 1830 by Lyndall Ryan to whom Cassandra Pybus has dedicated this book.
Tasmania: Van Diemen's Land Locations
February - October 1830 
Truganini and Dray led G A Robinson walking from Recherche Bay
to Port Davey, Bathurst Harbour, past Macquarie Harbour,
across the Pieman River and Arthur River
to Cape Grimm, then east to Launceston
600 miles


Map: Guy Holt




My migrating to Australia (Sydney and the Blue Mountains) introduced me to bushwalking.  This is very different from ‘rambling’ in England, ‘hiking’ in America or ‘tramping’ in New Zealand.  It meant navigating through ‘scrub’ often with no tracks (and certainly no National Park signposts until quite recent times).  My wife and I know what it means to face the special features of Tasmanian bush: ‘horizontal scrub’, seemingly impenetrable tangled vegetation, and mud so deep, thick and clinging, just as Robinson describes, that I had great difficulty on one occasion extracting my right shoe after extracting myself from such a mudhole on the Overland Track. 

Escaping convicts died from starvation and exposure trying to cross Van Dieman’s Land from the Sarah Island prison in Macquarie Harbour in the hopes of reaching Hobart – except for Alexander Pearce: Alexander Pearce (1790 – 19 July 1824) was an Irish convict who was transported to the penal colony in Van Diemen's Land (the modern day state of Tasmania), Australia for seven years for theft. He escaped from prison several times. During one of these escapes he allegedly became a cannibal, murdering his companions one by one. In another escape, with one companion, he allegedly killed him and ate him in pieces. He was eventually captured and was hanged and dissected in Hobart for murder. https://en.wikipedia.org/wiki/Alexander_Pearce

This episode not only shows how degenerated was the white society of Van Diemen’s Land, but makes even more amazing the physique and cultural adaptation of Truganini’s people who lived so successfully in this seriously rugged landscape in such a climate 40+ degrees latitude south.  Truganini, a diver for abalone and shellfish of all kinds, and swimmer of great strength, endurance and skill, saved Robinson twice from certain drowning in the flooded Arthur River on the infamous West Coast where the Roaring Forties hold sway all year round; while her husband Wooredy could maintain their meat supply hunting kangaroos and wallabies in areas which had been carefully managed by fire farming, as Robinson noted – for thousands of years more than he could have imagined.

The following photos show the nature of the country Truganini and her friend Dray, a young woman from the Lowreenne clan of the South-west Nation, led Robinson through to find people, such as the Tarkiner clan of the North-west Nation.  They met up on the banks of the Arthur River.  “The dominant man in the group was a very tall Tarkiner warrior in his forties named Wyne….As evening fell, the whole group walked back to a camp in the forest, with Robinson carrying Wyne’s youngest daughter on his shoulders….A secret warning was conveyed to Peevay [of Robinson’s group] that he should keep watch that night because the Tarkiner intended to kill Robinson and any of his guides who were not their kin, with the exception of Truganini, whom they wanted to keep for themselves….”

This was one occasion when Truganini saved the desperate George Augustus Robinson’s life.

Photos: Meg McKone Feb (summer) 2019





Roaring Forties weather coming in, near Arthur River.








                                             West Coast Hut Depression near Arthur River
Aboriginal huts - large beehive shaped structures composed of wood and bark that could accommodate between 6 -14 people.

The unique beehive shape was specifically designed to withstand the harsh weather conditions of Tasmania’s coastal environments, particularly along the west coast where they are more commonly found.
https://www.aboriginalheritage.tas.gov.au/cultural-heritage/aboriginal-hut-depressions




Midden including abalone shells, behind Four Mile Beach south of Pieman River.







Dense rainforest inland near Montezuma Falls between Macquarie Harbour and Pieman River.











From Friendly Mission 1829-1831, the story takes us on through Extirpation and Exile 1831-1838, when everyone was believed to have been found and moved to Flinders Island in Bass Strait.

Map: Guy Holt
The situation at Wybalenna was simply dreadful, and so Robinson – in competition with the infamous John Batman, who made entirely spurious agreements with the Kulin people on the mainland to establish what became Melbourne – won the day, and became Chief Protector of Aborigines there with the intention of taking all the Van Dieman’s Land people across Bass Strait.  That story In Kulin Country 1839-1841 reveals a new level of misunderstanding. 

The mainland was administered from Sydney, so bringing Van Diemen’s Land people to Port Phillip was never going to be acceptable to the official superintendent, Charles La Trobe.  And, of course completely outside Robinson’s understanding, the Tasmanian nations had had no connection with the Australian mainland for some 10,000 years, since Bass Strait was flooded after the last Ice Age ended.  The idea that these people would naturally get on with any Aboriginal people whose country they were put into, just because they were all Aboriginals, was completely out of touch.  But Truganini with her diplomatic and language skills did her best. 

In Chapter 8, by 1839, “Confronted with the magnitude of the suffering in Port Phillip, the chief protector had no idea what he was supposed to do for so many afflicted and desperate people” – the Wurundjeri, Boonwurrung, Wadawurrung, Djadjawurrung and Taungurong clans of the Kulin Nation.  When Robinson organised a feast for more than five hundred, in the hopes of building trust as he could personally distribute food, “It fell to Truganini, Wooredy and Peevay to dispel suspicions that the feast was a trap to get the clans corralled together in one place where they could be shot.  Eventually, the offer of fresh meat was too enticing for the Kulin to stay away and the feast went off without incident….”

But the tragic end of Chapter 9 is just too awful to contemplate.

When considering the idea that Truganini was the last Tasmanian, though, the story of one figure, Lacklay from the Punnilerpanner clan of the North Nation, who spoke the same language as Peevay, may be of interest.  He apparently disappeared from Port Phillip, presumably drowned in a boat that was wrecked – except that it did not capsize in Westernport Bay as people then believed.

He possibly worked in the whaling industry based in New Zealand, with an Oyster Bay Nation man known as Ned Tomlins, who married a Maori woman (Hipora) and had a son (Edward).  Perhaps Lacklay’s story turned out like Ned’s: he was young and could well have had a family of his own.  And there are surely many others: Wikipedia quotes “Contemporary figures (2016) for the number of people of Tasmanian Aboriginal descent vary according to the criteria used to determine this identity, ranging from 6,000 to over 23,000.”

Including lawyer, activist  and currently chair of the Aboriginal Land Council of Tasmania, Michael Mansell.
https://en.wikipedia.org/wiki/Aboriginal_Tasmanians
https://en.wikipedia.org/wiki/Michael_Mansell

The final scene in Truganini’s life, at the end of Chapter 10, is told with simple dignity and respect for this remarkable woman.  Though we cannot undo the past, surely we can improve the future.  Truganini – Journey through the apocalypse is not a book to make immigrants like me feel guilty for the dreadful treatment of our Aboriginal peoples that the colonisation of Australia has caused.

I am angry, though, when, as Cassandra Pybus puts it in her Afterword, “From all points in the southern sky, leaders of the First Nations of Australia came together in 2017 to produce the Uluru Statement from the Heart [and] they proposed a Makarrata, which is a word [from the far northern Kakadu region – so distant from Truganini’s Nuenonne country on Bruny Island in the far south] in the Yolgnu language meaning a coming together after a struggle, facing the facts of wrongs done, and living again in peace”; angry because the Australian Prime Minister of the day dismissed out of hand enshrining these people and Makarrata in our country’s Constitution – a law, by the way, passed on 5 July 1900 by the British Parliament, given Royal Assent by Queen Victoria on 9 July and proclaimed on 1 January 1901, which effectively ignored the presence of the original owners of the land!

On our behalf, Cassandra Pybus has faced the facts and the wrongs done, even alongside her own family’s history since 1828.  Surely now it is well past the time, as the Uluru Statement asks, for ‘a fuller expression of Australia’s nationhood’.



© Frank McKone, Canberra