2007 | The Barefoot Review

Ahh Celebrity Scene

2011-07-17T23:01:38+09:30

Impro Now - March 2007

This 90 minutes of comedy is loosely based on the television show ‘Thank God You’re Here’, and showcases 5 comedians or actors currently performing their own shows in the Fringe. The evening is divided amongst the 5 personalities who come out and introduce themselves to the audience and offer a small ‘bite sized piece’ of the show they are performing in the Fringe, followed by an improvised scene which they know nothing about. Audience participation is encouraged of course!

The venue is an intimate little church lined with timber pews, perfect size and style for this kind of production but perhaps lacking in cushions, as the 90 minute run with no interval starts to have you literally on the edge of your seat looking for a little relief from the timber slats.

The evening is hosted by Tracey Corsten who manages to hold the show together with her own brand of wit, entertaining the audience with a few jokes and anecdotes whilst the performers are preparing for their scenes. Appearances we made by Tracey Davis, Ben Darso and Kate Burr, with standout improvisations by Jason Chong and Phill Howie, who’s comic timing and warped sense of humor make for some very funny moments on the stage.

Supporting performers were strong and held the scenes together very expertly as the guest performers worked their way through the scenes changing direction without notice and heading off on a comic tangent.

Improvised comedy is like car racing for thespians, enthusiasts go to the races to see a car crash, theatre goers head to impro to see experienced performers get caught out in a situation they can’t control! If you’re looking for a night of light comedy where anything can happen, then I suggest you check this one out!

Paul Rodda

An Experiment with an Air Pump

2007-11-01T10:30:00+10:30

University of Adelaide Theatre Guild - November 2007

This piece concerns itself with a lot of issues, both moral and ethical, and demands the attention of the audience and great stamina and understanding from the actors to deliver its message effectively.

The story is based on the 1767 painting “An experiment on a Bird in the Air Pump” by Joseph Wright, whose works often depicted scientific subjects. It begins in a tableau created by the actors which portrays the painting. To cement this message to the audience, designer Ole Wiebkin has depicted a copy of this famous work, in his own unique style, as part of the backdrop to the set.

The fundamental theme centre’s around the turn of two centuries, with action set in both. The first in the year 1799, at the beginning of the Industrial revolution. The second in 1999, at the dawning of the Age of Biotechnology. In each century the characters are conflicted by their moral responsibilities to the growth and development of humanity through science and their ethical responsibilities as human beings. Cleverly interwoven into this story is the issue of the role of women. The evolution of man over 200 years is obvious in the juxtaposition of the female characters, and their comparative importance in each century. The playwright has challenged the audience with ideas, the piece doesn’t give answers, just opinions, and agree or disagree you’re guaranteed to leave thinking about it.

The action jumps back and forth between the centuries frequently and at times the audience could be forgiven for wondering in what direction the playwright was heading with the story. But the actors handle this easily, albeit with a range of mediocre accents.

Pick any player and you have a fervent performance. Cheryl Douglas as ‘Isobel’ a young Scottish maid, is stanch as the educated domestic with a hunched back deformity. Alison Scharber as ‘Harriet’ and ‘Kate’ and Amy Hutchison as ‘Maria’ both show great determination to their characters pursuits and deliver intense and passionate performances. Christopher Leech as ‘Fenwick’ is defiant and revolutionary in stark contrast to his ‘Tom’ who has resigned to his retrenchment, and Aldo Longbardi portrays wonderfully disparate performances as ‘Armstrong’ and ‘Phil’, two characters who couldn’t be more dissimilar from each other. Ben Brooker as ‘Roget’ and Sharon Malujlo as ‘Susannah’ and ‘Ellen’ round out this very talented cast.

The sound design by Maria Fava was effective and always complimented the action, though piece selection was not always married with the shows era. The lighting by Kim Littler was effective and gave dimension to Ole Wiebkin’s interesting set.

This show will give audiences much to think and talk about. See it.

Paul Rodda

Assassins

2007-12-05T10:30:00+10:30

Flying Penguin Productions - December 2007

Sondheim’s Assassins opened December 18th, 1990 at the Playwrights Horizons, an off Broadway theatre in New York. This version for Flying Penguin Productions directed by David Mealor opened in the Space Theatre December 8th, 2007 and is the premiere of the show in Adelaide.

The story, based on the book by John Weidman gives a fictional account of the assassinations of US Presidents throughout history – set in a murderous carnival, the piece moves forwards and backwards in time, linking the common goals and disparities of 9 of histories most well know assassins.
The climax of the show comes during a surrealistic sequence where the assassins attempt to convince Lee Harvey Oswald that the murder of President JFK will give him the public recognition he deserves and will ratify the work of assassins of the past and future.

The set is designed to be reminiscent of the Wild West Show, staged events depicting American history, with a large stepped timber stage set amongst tents, through which the actors can make their entrances. A large projection screen is used to great success and connects the action on stage to famous images of history and artistic video footage, which conjugates the characters emotions with the mood of the sequence.

The all star cast and award winning director have produced and outstanding production of this thought provoking piece. Unfortunately at times the un-miked singers are difficult to hear over the orchestra. Cameron Goodall as ‘Balladeer’ and ‘Lee Harvey Oswald’ gives an energetic and considered performance. Christopher Matters as ‘John Wilkes Booth’ has a demanding presence and powerful operatic voice, but the dialogue is sometimes lost behind the thick southern accent. Stephen Sheehan as ‘Charles Guiteau ‘is dapper and appropriately nutty as the Oneidan assassin and Nathan O’Keefe is irreproachably nerdy and love struck as ‘John Hinkley’ – who we never see carry out his assassination attempt. Geoff Revell as the ‘Proprietor’ is suitably enigmatic filling multiple roles as radio announcer, techie, stage crew, and carnival leader to the assassins throughout.

Other exceptional performances come from Syd Brisbane as ‘Samuel Byck’ the dejected and psychotic Santa Clause and Michaela Cantwell as ‘Lynette “Squeaky” Fromme’ obsessed with Charles Manson and the idealistic destruction of humanity. Rory Walker shows great love and affection for Emma Goldman as the Anarchist ‘Leon Czolgosz’ and Peter Mitchell as ‘Giuseppe Zangara’ is delightfully murderous – blaming his attempted assassination of FDR on stomach pains. Bronwen James is uproariously funny as ‘Sarah Jane Moore’ and her scenes with Cantwell are clearly audience favorites. The ensemble is all very strong in multiple roles and the group numbers are harmoniously pleasant.

This very provocative show reveals a strange insight into the minds of our assassins. A must see.

Paul Rodda

Bimbo

2011-11-28T00:37:29+10:30

Higher Ground - March 2007

When the president is caught sleeping with a beautiful woman on the floor of his office, and the scandal is reported nationally in every magazine and newspaper, the radical step is taken of ignoring the advice of his political advisor and releasing a media statement affirming everything that has been reported. When the public doesn’t like what they hear, the president and his wife must come up with an ingenious plan to win the election and stay in government.

Paul Davies as the president has a strong presence in this wide and very open performing space; unfortunately his performance is the only one big enough to fill it. Natalie Page, who plays the president’s wife speaks with great diction but often loses the focus required to stay with her character through the long and wordy scenes. Phillip Riley, Advisor to the president and the show’s creator unfortunately appears to be out of his depth on the stage, though the script is innovative and shows promise, his performance was frequently too quiet and his delivery often directed at the floor.

Supporting performances by Chantal Amos, Tallora di Girolami and Amrit Kumar as the ‘presidents girls’ are refreshing and break the long scenes, but the dance sequences run too long and often without motivation.
The use of multi-media was effective, the sound effects and voice over’s were excellent and the music choice relevant, unfortunately it was so loud it only served to highlight how difficult it was to hear some if the live action on stage.

This is a light hearted piece of theatre, written, directed and performed by local artists and capturing everything that the Fringe is about. Definitely worth a look if you are interested in a piece of thought provoking writing – what if John Howard slept around?

Paul Rodda

Blood Brothers

2007-11-02T10:30:00+10:30

Blood Brothers

The Hills Musical Company - November 2007

This is the musical story of two brothers ‘Edward’ and ‘Micky’ who are born on the same day, one who is kept, and one, given away. Their mother, ‘Mrs Johnston’ is too poor to keep them both, and knowing the trouble she will be in if she does, gives one to the desperately childless ‘Mrs Lyons’. As the boys grow up they become friends, despite the obvious class differences. In a dramatic conclusion to the story both of their lives are lost, fulfilling the prophecy that twins separated at birth must never learn they are a pair, for if they do they would both immediately die.

This piece directed by Max Rayner borrowed a lot of its staging and setting from the London show still running on the West End today. This may be a risky proposition. Anyone seeing the show again might be comparing it to the London production, undoubtedly staged on a much larger budget, but, nonetheless all of the elements in this amateur recreation are highly successful.

Narrating the story in the role with the same title is Scott Nell. Nell, recognised for his character acting ability and well known in Adelaide theatre circles, tackles this role with gusto. His voice is stunningly deep and eerie, his multiple roles as the ‘Milkman’, ‘Bus Conductor’ and ‘Teacher’ are light and humorous in comparison. The brothers played by Chris Buhagiar as ‘Mickey’ and Matthew Brooks as ‘Edward’ are decidedly different. Buhagiar gives strength and energy to ‘Mickey’ and maintains an excellent accent throughout all the dialogue, Brooks is more proper as ‘Edward’ with an educated tone and warm naivety. Both sing their roles well. Jenny Scarce-Tolley has the difficult role of ‘Mrs Lyons’. A myriad of emotions are experienced in this characters journey and Scarce-Tolley delivers them all - longing, desperation, anguish, agony, fear, hate and passion - with skill and élan

Michelle Nightingale as ‘Linda’ plays her characters age ranges with skill – from 7 years to 25 she never appears to be patronising or false in her interpretations of the characters tribulation. Angas Smith works very hard with ‘Sammy’ and gives a lot of energy, but as ‘Mr Lyons’ fails to convince us that he is a man of any strength or stature – though this may build throughout the run.
The show stopping performance however comes from Robyn Smith as ‘Mrs Johnston’. Smith is pitch perfect, resolute and skillful in her portrayal of the downtrodden mother with strength to raise a family in desperate times. Her performance is emotionally moving and powerful and it is little wonder half of the audience leaves the auditorium wiping a tear from their eyes. It is disappointing however that a projection of Marilyn Munroe images has been incorporated into her songs only serving as a distraction for the audience and continually breaking the emotional tension that begins to build throughout each of her numbers.

The ensemble also work very hard, the original production incorporates synthesizers over the voices and attempts were made at this with the lead characters, but a lack of microphones for the ensemble meant spoken words or sung lines were often lost behind the music. The orchestra, under Musical Director Emma Knights played excellently. The set was simple and effective and the costumes did the job, though some if the outfits were a little disappointing and didn’t point up enough of the differences between the upper classes and the poor.
Overall the piece seemed to lack a little bit of pace, but was, without a doubt, an excellent show and well worth a look.

Paul Rodda

Cabaret

2007-05-01T09:30:00+09:30

The Hills Musical Company - May 2007

Clifford Bradshaw is an American writer struggling to unearth inspiration for his next book, and finds himself searching for it in Berlin. On his travels he meets an entertainer by the name of Sally Bowles, who performs in the local cabaret, the Kit Kat club. Our writer finds love with Sally, but the Nazi revolution is beginning to take hold and for their own safety and that of their unborn baby Cliff and Sally decide to return to America, but not before a few unexpected twists and interruptions.

This show is written to be a big, bold cabaret production, and while the cast work very hard and sustain good energy throughout; unfortunately the show doesn’t quite deliver. The production company has assembled a capable cast, but sadly some of the more flamboyant and talented characters voices are often lost as are much of the lyrics.

The choreography was strong, and Mel George and Rebecca Stanley should be congratulated for the overall look of the production. Popular numbers included ‘Don’t Tell Mama’, ‘Perfectly Marvelous’ and ‘Money’ but the show stopper had to be ‘Two ladies’ which had the audience in fits of laughter and received thunderous applause.

An energetic and vivacious performance from Jamie Richards as ‘Emcee’, but the performance of the night goes to Julie Quick as Fraulein Schneider, who, although a self confessed non-singer managed to entertain and excite the audience through all four of her numbers.

The set design by David Lampard was quite abstract, but fitted the mood of the play, and upon closer inspection had some very interesting links to the story line buried in its arrangement. Outstanding was the orchestra playing on the stage, and with the addition of microphones for the singers this would be a truly entertaining night of cabaret.

Paul Rodda

Clash of the Theatre Titans

2011-11-28T00:35:23+10:30

Impro Now - March 2007

Impro now have created a series of three theatre sport shows to entertain the Fringe Audiences this year. They are, “Aaah” Celebrity Scene,
Theatre Sports Heats and the Clash of the Theatre Titans. This production involved 4 teams each vying for the prize of a single minty. The teams were required to play at theatre sports games where they took suggestions from the audience on locations, genres, names and actions they would use in their scene. The teams were created from comedians and actors currently taking part in their own shows in the Fringe.

The venue was fantastic and the audience made a great show for this opening night performance with at least 300 people turning out for a laugh. Straight off the bat audience participation was encouraged and as always the hecklers shone, wasting no time yelling out their suggestions to the players on stage. Traditionally the actors are totally unaware what they will be doing until the moment they step foot in the space, but unfortunately this production was slightly more scripted than this, with all the teams knowing what games they were playing before the show even began – this destroyed a lot of the spontaneity of the piece. Like most genres Theatre sports has had ebbs and flows in its popularity. The most recent spike due to the success of televisions ‘Thank God You’re Here’, but this compilation of sports failed to convince me it was completely unrehearsed.

Successful as the winners of the production and equally successful in popularity with the audience were the “Canadians”. Their lightning fast wit and somewhat left of centre sense of humor made them increasingly popular, triumphant due to their faced paced impro, the audience daren’t laugh in case they were to miss another pearler, but alas these two were just too funny, and even had their competitors in stitches on the side lines.

A great night out, enjoyed by all. A little less rehearsal by the players and a little more by the compare would have helped proceedings, but the audience showed enough gratitude through there applause to convince me the production was a success.

Paul Rodda

Educating Rita

2007-07-01T09:30:00+09:30

Mixed Salad Productions - July 2007

Rita is vibrant, and eager to understand. Understand poetry, literature and criticism and so surreptitiously begins tutelage with the morose Frank Bryant. Frank, a failed poet and lecturer who has resigned himself to a life of empty lectures and booze, has his world turned upside down by Rita. He is excited by her unique views of the world, her language, acute observations and just by her. This is a powerful story of self discovery and the freedom of choice - to choose the song you will sing.

Playing in the lead role of Rita is the accomplished and award winning Nicole Rutty. Rutty is always a pleasure to watch and this production is no exception. Her Rita is dynamic and lively. There are lucid moments of madness when through the gabble comes wonderful truths cleverly interwoven into the script by the playwright Willy Russell.

Mixed Salad Productions Co-founder and award winning actor Dave Simms plays opposite Rutty. Simms performance is a powerful archetype of the disconsolate and depressive Frank. He clearly struggles with giving Rita the education and understanding she desires, whilst trying desperately not to destroy her natural insight.

As audiences of Mixed Salad Productions have come to expect the Setting, Lighting and costumes all excelled, as did the infamous opening night feast, in keeping with the themes of the play. With a few opening night nerves ironed out, this will be a wonderful show. A credit to the production team and a great night of theatre.

Paul Rodda

Four Faces

2007-12-04T10:30:00+10:30

Jay Robinson - December 2007

‘Four Faces’ is the artistic delineation of life as a gay man told through 4 different characters in dance. Jay Robinson in collaboration with, Anton, Gerard Van Dyck and Troy Mundy presents four solos each dissimilar from the next but all connected by the theme of homosexuality.

The first solo by Robinson, deals with the struggles faced by gay men growing up, understanding their desires and the impact of their preference on family, friends and social positioning.
The second piece choreographed by Robinson and Anton encapsulates the difficulty of connecting with a ‘superficial society’.

The third solo, by Robinson and Van Dyck incorporates a combination of acting and dialogue in conjunction with the movement, to challenge the stereotypical themes of modern society and explore the ‘masculinity’ of gay men. Jay also explores more universal themes of confidence, self importance and sex – confronting the audience with, often, explicit scenes of sexual exploration.
The final solo, by Robinson and Mundy approaches the 21st century themes of internet dating, web cam chat and individuals described by an electronic profile. Robinson showed us his characters resistance to these forums and eventual surrender and acceptance of them as loneliness and desire took over.

The piece was clearly very close to Robinson’s heart. His expression through dance was commanding and poignant and continually connected with the audience. Robinson showed great stamina and focus. He worked tirelessly in pursuit of the message and the audience showed great appreciation for his dedication in the form of a standing ovation.
The themes explored by Robinson were universal and held messages for all sexual orientations. ‘Four Faces’ was a moving performance which left everyone thinking.

Paul Rodda

I love you, you’re perfect. Now change!

2011-11-28T00:40:18+10:30

SINGular productions - March 2007

As the title suggests, this musical comedy revue tells the stories of over 60 diverse characters as they struggle with love, sex and relationships told through the voices and song of four of Adelaide’s best operatic performers. The tale begins with the opening passage of the bible, spoken over the tuneful hums of the chorale entering the stage from the auditorium dressed in hooded robes. The reading begins quite sincerely, word for word as religiously written, but very quickly the one liners’ are slipped in setting the audience up for a great night of laughs.

In the first act our 4 performers take us through the first date, and onto the complexities of first time sex, leading us melodically through the wedding and the joys and encumbrance of marriage, children and family. The singers continue in act two with tales of divorce, re-joining the dating scene, and finally losing the one you love and finding companionship as a widow.
With performances by Johanna Allen, Deborah Caddy, Adam Goodburn and Benjamin Rasheed, audiences should expect an outstanding interpretation.
But in this production they get much more than that, these world class performances combined with skillful set design by Victoria Lamb, beautiful music by Nerissa Pearce on piano and Imants Larsens on violin, and brilliant lighting design by Marie Docking, make the cabaret atmosphere complete and audiences can sit back, relax and enjoy a masterful piece of writing and musical production. This production was superb, but could have benefited from some amplification. Although all of the performers are accomplished opera singers, this cabaret style performance lends itself to a more inclusive sound, allowing the audience to truly become lost in the music rather than struggling to catch odd words, hoping desperately not to miss any of the fantastic lyric.

Joe DiPietro and Jimmy Roberts, creators of this piece, have hit the nail on the head with this comic look at a slice of humanity, letting audiences laugh at themselves, whilst enjoying some of the best singers Adelaide has produced. See it.

Paul Rodda