Famous Last Words. Goodwood Theatre. 29 Jul 2023
Who would want to be James Watson?
He returns polished from the east to his hometown, sets up a theatre company resident in the gorgeous old Goodie, deconstructs a Strindberg and has the city’s critics headlining: “Wunderkind”.
He’s a hard act to follow. Even for himself.
Now his Famous Last Words company presents Watson’s own words - a play called Proud. It is a stridently political one-hander which features that very promising young actor, Henry Cooper.
It is a lot of words and Cooper does not lose a single one. He delivers, often with machinegun fury, but always with impeccable articulation. Not that they are very nice words. They are downright nasty and written in the sorry semi-literate street idiom of the day.
Proud is about the right-wing nationalist phenomenon, very much inspired by the January 6, 2021 insurrection American Proud Boys but, with reference to the Cronulla riots, transposed to Australia. Watson’s character is called Jack and he is a lad disappointed in his life. He was bullied and humiliated at school and left to care for his dying war hero grandfather by a brother who not only was never there to stand up for him but who also dared to marry an immigrant and move away. He found a new sort of brotherhood from the beer and barbie camaraderie of suburban fascists.
The play is as subtle as a sledgehammer and as didactic as Baptist tub-thumper.
It is the considered passion of a generation, and it provokes in us old theatre hands fond memories of the agit prop of yore.
It offers nothing new except the reminder that there is nothing new. Humanity makes the same mistakes over and over. Unkindness and bullying damages people. Hatred and racial stereotyping are born of ignorance.
How ironic, then, that a play bellowing racial intolerance should produce love. But, of course, one loves Watson and his shining ilk for their laudable zeal. He reminds us of us, and one hopes that his play’s sentiments may at some time, somehow, not be preaching to the choir.
The play is performed in the smaller Goodwood theatre space, which once was a library. Walled in by black drapes, the audience tries not to trip over the footlights as it takes its place on two sides and in two tiers, with drummer Dan Pitt on a corner dais and just three green yard chairs as props. Director Connor Reidy has Cooper move the chairs to symbolise this and that. It’s an old minimalist trope which is either loved or hated by audience members. And, he also has the play’s dramatic emphases underscored by abrupt drum explosions. Some people like a cacophonous shock. This critic is not among them. Damagingly loud in a small venue, she says.
But Famous Last Words is well and truly alight on the map now, and we wait with immense curiosity for what next it presents.
Samela Harris
When: 29 Jul to 6 Aug
Where: Goodwood Theatre
Bookings: eventbrite.com
Disney and Cameron Mackintosh. Adelaide Festival Theatre. 5 Jul 2023
The whimsical adventures of that magical nanny, Mary Poppins, have been capturing the imaginations of both children and adults alike since PL Travers penned those wonderful stories in 1934. The subsequent release in 1964 of the Robert Stevenson film produced by Walt Disney, and starring Julie Andrews and Dick Van Dyke, took it to a whole new level. No less than 13 Academy Award nominations and Disney’s highest grossing film ever!
A source of nostalgia for many, the memorable songs, enchanting characters, and the heartfelt messages resonate deeply with those who were raised on the story. It is a testament to its timeless appeal that generations have embraced and passed down the love for this extraordinary tale, including Cameron Mackintosh who, along with book by Julian Fellowes and score by Richard M Sherman and Robert B Sherman, adapted it into a stage musical.
The Adelaide Festival Theatre explodes into life as Mary Poppins takes centre stage. From the moment Stefanie Jones descends from the heavens with her iconic umbrella, it is clear she was born to portray the beloved nanny. Jones effortlessly embodies the essence of Mary Poppins, blending her prim demeanour with a touch of mischievousness; her stunning voice soaring through the theatre, enchanting everyone in the near capacity opening night audience. Her performance is indeed practically perfect in every way!
In the charismatic role of Bert, Jack Chambers is an absolute revelation and proves a force to be reckoned with. Chambers’ performance is truly captivating. Not only does he possess a remarkable singing voice, but his tap-dancing skills are awe-inspiring. Chambers’ feet create a symphony of rhythm as he effortlessly glides around the stage during Step In Time. Every step, every leap, every intricate tap sequence is executed with breathtaking precision. Bravo!
However, the brilliance of this production is not limited to its leads. The entire ensemble cast shines brightly, each member contributing their unique talents to create a cohesive and memorable performance. Patti Newton’s Bird Woman provides a wonderfully poignant reminder of the importance of love and compassion for all living things, the hauntingly beautiful ballad Feed The Birds swelling in our hearts when Jones joins with Newton in the duet.
Tom Wren and Lucy Maunder as George and Winifred Banks perhaps don’t get the time to truly develop their character’s arcs as the contrasting forces of tradition and change, however their performances are still captivating to watch. Wren perhaps has the biggest character arc in the show and the transformation from rigidity to compassion is truly affecting.
One may be forgiven for a double take when Helen Walsh hits the stage as Mrs Brill, her performance combining all of the mannerisms of both Ellen and Mrs Brill in the Disney film version. The character Robertson Ay, plucked from the books but who did not appear in the film, is portrayed spectacularly by Gareth Isaac. Robertson doesn’t get a lot of opportunities to sing, but when Isaac’s opportunity comes his operatic tones blow the roof off the theatre! The cast of kids includes four young actors and actresses playing Michael and Jane Banks, each sharing the role across the season.
Surrounding these spectacular performances is a true work of art in the set and lighting design by Bob Crowley, Hugh Vanstone, and Natasha Katz. Reminiscent of a whimsical children's pop-up book at times the set dances across and around the stage in perfect harmony with Matthew Bourne and Stephen Mear’s spectacular choreography. Every scene is a visual feast for the eyes, with intricate details and vibrant colours that transport the audience to the heart of the story. The seamless transitions between locations are a testament to the creativity and skill of the production team.
The sound, by designer Paul Gatehouse, has wonderful dynamics and builds to exhilarating crescendos throughout the performance and the orchestra delivers a flawless accompaniment, bringing the iconic songs like Jolly Holiday and Supercalifragilisticexpialidocious to life.
Mary Poppins is an absolute triumph. It is selling well, so book early to avoid disappointment.
Paul Rodda
When: 5 to 27 Aug
Where: Adelaide Festival Theatre
Bookings: premier.ticketek.com.au
AFCT, Limosani Projekts, Brink Productions. Space Theatre. 30 June 2023
Bàrbaros is a tremendous, powerfully visceral nightmare journey exploring the darkest psychological depths of the divide between civilisation and outright barbarism.
What divide? It’s a toss-up as if such a thing ever existed in Choreographer Lina Limosani’s intensely compelling production.
In a mere 55 minutes, Limosani compresses slug like beginnings of life, emergence of primeval, animal level sentience, evolving into endless warring conquer or be conquered savagery, explicitly innate to ‘civilised’ human culture for a good 2,000 years (counting pre 1 AD.)
Beautiful and terrifying to behold, dancers Anton, Jana Castillo and Rowan Rossi strike an extraordinary balance between movement offering the animalistic combined with the gestures of highly evolved political theatre we associate with power exercised from on high.
Thom Kitney’s lighting leads each phrase of the work. Every one. Most unusual but incredibly effective in psychologically reinforcing the sense of deep hellishness Bàrbaros explores. It is a perfect light design against Thom Buchanan and Renate Henschke’s set design, and Henschke’s costume design.
The biggest psychological king hit comes from Limosani’s masterful, revolutionary use Japanese black shadow puppetry, married to sound composer Sean Williams’ and James Oborn’s soundtrack.
Rowan Rossi is the shadowy dark black cloth substance which enshrouds, twists, and releases Anton and Castillo as if devouring, enslaving then spitting them out into a new phase of dark existence simultaneously embraced, yet struggled against.
This sole element of Limosani’s production is the psychological one puncturing any sense of secure belief there’s a real divide between civilisation and barbarity. The ultimate absolute heart of darkness.
David O’Brien
Where: The Space Theatre
When: Closed
Bookings: Closed
Adelaide Cabaret Festival. Adelaide Festival Theatre Quartet Bar. 24 Jun 2023
The Desert Plea is a ‘work in development’ – the director and producer of the show (Matthew Briggs, Under the Microscope) is very clear about that – but ‘work in development’ almost sounds like an apology, and this show needs none of that. It’s not yet perfect, but it’s future is exciting, and the large audience in the Quartet Bar are already singing its praise.
The Desert Plea is the story of Alice, a musician who ventures into the South Australian bush to an almost ghost-like town with a mission to suggest to its residents a different slant on the possibilities of living their lives. Alice does this through her music. Her mission might be considered arrogant, as she assumes the role of an uninvited saviour, but the experience is cathartic, and she uncovers hidden aspects of herself. In many respects, she experiences healing. Indeed, she pleas to be reconciled with herself and her unique view of a changing world.
Musician/singer Fleur Green and poet David Chapple have collaborated to write original songs and poetry to give life to Alice’s journey, and the result is very affecting. Green sings her songs as she accompanies herself at the piano, and accomplished local actor Rory Walker gives his voice to Chapple’s well-crafted verse. Song. Poem. Song. Poem. And the story unfolds.
Green sings and plays well, but the sound engineering was not always sympathetic to her vocals, playing, and the formal structure of the music. Indeed, some of the early numbers were difficult to hear clearly, and the verse that followed was needed to derive a sense of what was just sung. This will improve as the work is further developed, perhaps with the addition of other instruments to smooth out the sonic balance. The audience however did not shy away from the challenge, and many could be seen intently listening through closed eyes so that the visual would give way to the aural.
Green is the focus of attention – she is alone on stage with her piano and microphone, and the attention does not appear to sit comfortably on her shoulders. Her occasional patter is mildly self-conscious but when she plays the piano and sings, all of that is instantly forgotten. She becomes a different person. She becomes Alice.
Her compositions traverse a range of different musical styles. There are heavily syncopated and complex rhythms, and there are dazzlingly accurate arpeggios up and down the piano sitting under carefully constructed lyrics. The poetry is also complex at times, with polyrhythms that have life breathed into them by Walker’s expert phrasing and enunciation. It’s almost Sondheim-esque at times. These are often followed up by empathetic music of the same ilk.
Arguably, The Desert Plea is more theatre more than it is cabaret, and if that is true, then the next iteration of the show will benefit from more attention being paid to production elements that enhance the story telling: a narrator in person, rather than a recorded voice; projected images to underline the narrative of the poetry; additional musicians; enhanced sound engineering that treats the show as theatre rather than a gig.
The Desert Plea has a big heart. It puts some very important issues ‘under the microscope’ (pun intended), but perhaps tries to say too much. It has the very real potential to become an important piece of theatre.
Kym Clayton
When: 24 June
Where: Quartet Bar
Bookings: Closed
Adelaide Cabaret Festival. Festival Theatre Banquet Bar. 21 Jun 2023
American chanteuse Amelia Zirin-Brown (aka Rizo) is more than a cabaret singer, much more. Her style is reminiscent of Australia’s Meow Meow, where the singing is important, but the antics and banter are more so. Arguably, Rizo’s interaction with her audience is pivotal to the structure of her show, her celebrity, and her appeal.
For this reviewer, this performance was my first experience of Rizo, and it was an eye opener. She is part singer, comedian, burlesque-artist, social commentator, and raconteur. Rizo is the full package, and she clearly has her devoted followers.
She is first heard backstage, and after a verse or two, she emerges through the curtains at the back of the small stage in the Banquet bar. She is dressed flamboyantly but tastefully and introduces her all-Aussie five-piece band (drums, keys, reeds, guitar and double bass). They are good, very good, and alert to Rizo spontaneously moving ‘off-topic’ – usually mid verse.
Rizo has flown into Australia from Europe via China, and she doesn’t recommend it. She pronounces that “Jet lag is a real thing”, and subliminally puts the thought in our minds that maybe we’ll experience her limbering up before she really hits her straps. She shimmies, and for whatever reason decides a group-shimmy involving the entire audience is just what the occasion needs. After all, it’s the eve of the winter equinox, and its cold and raining outside. We need bewitching and warming up, and although the excellent Adelaide Hill wines on offer in the foyer are doing their best to get our blood pumping and hearts racing, a little exercise wont’ go amiss! “I can see you if you’re not doing it!”, she threatens with a broad smile on her face and an evil glint in her eye. Naturally we comply. The last thing any of us want is to be singled out and made fun of, as some second-rate stand-up comedian would do. But Rizo is not that. And the reality is that she singles everyone out – that’s her skill – but its more an act of care and devotion to her audience than anything else.
Clearly the exercise has warmed her up because she then strips on stage as if it was a topless bar, and changes into another flamboyant costume. The strip tease is amusing more than gratuitously salacious. The gloves are removed seductively, to reveal another layer of gloves. One is ‘eaten’ and then ‘regurgitated’, but it has somehow morphed into gay-pride colours! This segues into heart-felt, well-observed and oh-so-funny comments about the parlous state of conservative politics in the US of A and the brazen and unacceptable attacks on diversity. This is not the only occasion Rizzo gets overtly political in her performance or makes salient remarks about the state of the human condition.
Rizzo decries what she calls the culture of loneliness in our society but doesn’t sheet home the blame to the pandemic and what it did to all of us. She hints at something more menacing in the guise of unhinged political world leaders. Rizzo croons Queen Bee and channels Barbara Streisand in the process, and the lyrics are a metaphor for her condemnation of evil men such as Putin and Trump. (Interesting bedfellows!)
Other songs flow seamlessly through her narrative (some her own), and her vocal sound production is fascinating. At one point her voice sounds like a glass harmonica, and the backing ensemble complement it beautifully, especially the keyboard.
Meow Meow crowd surfed in last year’s Cabaret Festival, but Rizzo trips the light fantastic on tabletops in this year’s, availing herself of what might be on offer to drink, as she goes! She chooses members of the audience with whom to slow dance. Her banter is seductive, fresh, and familiar, as she almost intones Close to You and for a moment we know what it feels like to be in an intimate Montmartre-esque cabaret club.
At this point, the jet lag is shed, and Rizzo has hit her straps. Song after song (or excerpts) sign post her narrative. She sings the poignant Ghost of the Château Marmont by Ariana Savalas (Telly’s daughter) and it perhaps serves as comparison for Rizzo’s own search for her place in the world, as she tells the story of her early life as a singer trying to establish herself.
As the show draws to a close, she sits at a small table and sings a final song and “spreads her wings” as she gazes deeply into a mirror. As she does she applies fresh lipstick and dons an extravagant headdress that sparkles and shines and creates multiple images of her face in its many mirrors. Perhaps this is the ‘prizmatism’ referred to in the title of her show?
Kym Clayton
When: 21 to 24 Jun
Where: Festival Theatre Banquet Room
Bookings: cabaret.adelaidefestivalcentre.com.au