Adelaide Cabaret Festival. Dunstan Playhouse. 14 Jun 2017
The most primal thing of all linking us as human beings is that out of earshot beat we know as a pulse, the heartbeat. We don’t consciously think about or even mark its presence unless we focus on it.
Director, Kate Denborough has taken this unconscious everyday reality and fashioned from it a work of extraordinary complexity exploring how the beat within, becomes expressed without; in motion, sound, silence and vision.
As a production title, Out of Earshot makes clear its emphasis is on that which cannot be, or is not, easily heard. It’s very much a work crossing the boundaries in terms of audience reception; deaf and hearing impaired most especially, for whom this work will greatly appeal.
Denborough's synthesis of sound, light and movement is firmly founded on the deft, richly powerful Jazz percussive prowess of Myele Manzanza.
Manzanza is the lighting rod, or touchstone through which designers Paul Jackson, Stephen Hawker and James Paul’s minimal, yet uber high tech, set, utilising motion sensitive floor technology, ‘speaks.’ Three large oblong LED monitors project lighting schemes sparked by the beat of drum, human feet, and hands.
As choreography progresses from the simple warm expression of Manzanza playing a tattoo on a dancer’s body, mimicking the human pulse, to dancers encompassing the whole stage in response to broader, wilder, more complex drum kit thrashed rhythms, questions quietly cross the mind.
When Manzanza air-plays the sticks, whilst the dance continues and the monitor flash of heartbeat projection stops, what’s really being communicated here? Is the beat still there? More potently, the phrase in which dancer Gerard Van Dyck reacts as if struck and reshaped by Manzanza’s whip and strike of a drum stick begs the question, is this out of earshot beat more emotionally powerful than any other sense?
This particular question is significant to this writer who, like ensemble dancer Anna Seymour, is profoundly deaf. Had I turned my hearing aids off, what might have been the difference in my perception of the beat, the force, the energy and the communication?
For communication is the subtle ‘under the hood’ heart to the work. Sound is seen. Beat is seen and felt. Somehow this is a kind of ‘heard’ experience.
Out of Earshot is a special gift, not to be missed, to be pondered deeply long after.
David O’Brien
When: 14 and 15 Jun
Where: Dunstan Playhouse
Bookings: bass.net.au
Adelaide Cabaret Festival. Space Theatre. 12 Jun 2017
Desperation, financial and spiritual, neediness, guile, repressed angst, rage, hopelessness and wrenched from the heart nostalgia powers Liz back to the family home after decades away. Her Christmas Eve is alike to Dickens’ famous tale in which her life recounts itself to her as ghostly memories of Christmas past, present and hope of a Christmas future to realise.
Christie Whelan Browne offers up a sharp no nonsense woman of the world with a steel hard attitude hiding a much softer, brassier, vulnerable young self, desperate to remember, recount, reconsider so much of her life as she settles into a vigil like evening of remembrance, play, booze and revelatory moments.
Whelan Browne owns the character with great depth, moving from spoken text to song and back with peerless timing and musical phrasing challenging her to maintain a structured, smooth flow.
She is sassy, funny, dark, vulnerable and brilliant. She is a child wanting, a teen rebel glorying in past memories, a woman confused and angry that she’s been misunderstood by her Mum, and ready to confess to so much.
Steve Vizard’s book is fantastic. The larrikin spirit of the comic sketch writer he was famed as in the 80s and 90s is still there in outline with this work, but choosing to work within a musically based framework has done something to his outlook. Something good.
Director Andy Packer has kept it simple, but in challenging ways. He’s ensured Whelan Browne has the right flow of emotion and action within the constricted square revolving set consisting of bed, settee and clothes hanger. Packer’s direction is especially valuable for seamlessly blending monologue in drama and song.
Joe Chindano’s score is deceptive in its simplicity. It reels off sophisticated, unexpected trills of treble glissando and backed by violin, is remarkably evocative stylistically in unexpected ways.
David O’Brien
When: 12 Jun
Where: Space Theatre
Bookings: Closed
Adelaide Cabaret Festival. Artspace. 9 Jun 2017
Gillian Cosgriff’s return to the Adelaide Cabaret Festival after her debut six years ago reveals a greatly matured artist since then. To The Moon and Back is at once light hearted, glamorous, laid back, philosophical, poignant and wonderfully silly.
That’s a lot to cram into an hour in a show about space, and a tall order to run it all smooth as butter.
Cosgriff achieves the task because at the core of the performance is her breezy laid back Queensland spirit taking things on with a confident calm and always with a smile and solid direction, ensuring every possibility in her writing has been given life.
Space is a big thing. It can be small too. Cosgriff really dives into her subject with gusto, obsessive gusto. Clad in space suit white, Cosgriff merrily quips away. How we get from the usual things about space to the origins of our species is wonderfully bewildering.
Musically, the production is huge fun. What a ball Cosgriff has with a Roland synthesiser, running out a fantastic set of songs each in total contrast to the other, dealing with quirky space play mates to deeper stuff, plus playfully mucking around with a set of effects foot pedals.
I’m pretty sure Adelaide will love Gillian Cosgriff to the moon and back after the warm embrace of this production.
David O’Brien
When: 9 to 11 Jun
Where: Artspace
Bookings: bass.net.au
Therry Dramatic Society. Arts Theatre. 8 Jun 2017
It might seem an odd place to stage a musical – the Pale of Settlement of Imperial Russia in 1905 – but Fiddler on the Roof formed part of a style of ‘60s musical theatre that was pushing established boundaries and turning its back on entertaining escapism in favour of more serious depictions of real life struggles.
Tevye the milkman – Fiddler’s central character – is father to five daughters, living an impoverished life in the Russian village of Anatevka, under the ever impending threat of pogroms at the behest of Nicholas II, the tsar to Russia. Tevye is a devout Jew, and an honest man, but his daughters soon test his ideologies, loyalties, and eventually even his faith.
Fiddler is a heavily sanitised version of the events of 1905, which ultimately culminated in the Russian Revolution. University educated, Perchik hints towards this, but the future is left open ended and hanging at the fall of the final curtain. Similarly, Fiddler incorporates what must be one of the tamest pogroms ever enacted; one which the cast of this production manage to remedy with only a few moments of clearing and righting furniture. Despite this, the tale is still endearing, and oddly heart-warming.
Therry’s production rests solidly on the outstanding performance of David Gauci in the central role. Gauci is ably surrounded by a lovely cast who create a wonderful sense of community on the Arts Theatre stage. Gauci’s Tevye remains appropriately light in the context of the material. He wonderfully balances the irony, humour, compassion, and dedication of the religious man with the family man, working his way firmly into our hearts. The duet, Do You Love Me?, between Tevye and his wife Golde (Anne Doherty), is both a highlight and a grounding moment of solidarity.
The whole production has a warm, honest feel to it. Jason Groves’ lighting seems to capture the unassuming nature of the village’s inhabitants whilst casting them in a warm glow of inner prosperity. Peter Johns’ musical direction enhances the strengths in the cast whilst not stretching them beyond the capacity of the ensemble, delivering real balance amongst the players. It is Kerry Hauber’s choreography that transports us, however, and what a delightful sight it is; with some impressively talented male dancers amongst the amateur ensemble.
The show is long, and does take its time to build - both in character and narrative. But it is a journey we are happy to be on with the generous cast and gentle production values. Norm Caddick’s direction is consistent and sweet, and the result is simply satisfying.
A smile rendering production, with a few belly laughs along the way – and tickets are selling fast.
Paul Rodda
When: 8 to 17 Jun
Where: Arts Theatre
Bookings: trybooking.com
IKAG Productions. The Producers Hotel. 8 Jun 2017
Will Eno is a playwright often compared to Beckett. His rolling, discombobulated monologue comprising the text of Title and Deed is instantly identifiable to the ear as having the hallmarks of that Beckett laden dry, dark, and distantly observant voice of an outsider.
Tom Gentry’s self-directed performance is with some merit and many deficiencies, some not necessarily of his making, more the blazing enthusiasm and driven passion of inexperience.
Eno’s unnamed character has no known place in the world and for all we can tell, is not of this world. He is an aimless chimera spinning tales which seem to have neither true beginning or end.
Distance is the key to this work. Textually, in direction and performance. By choosing to direct himself, Gentry has disallowed the absolute necessity of being observed and moved apart from his own preconceptions of the work by a director in a collaborative creative endeavour, pulling out of him a performance and characterisation he is not aware is within him; something challenging, something capable of reaching the layers in the text awaiting discovery.
This is not to say Gentry doesn't offer moments in which, like a brief flash of light, the otherness of the character seems yet to reflect a true ‘humanity’ and push the idea with conviction we too are in communion with - this ‘other’ telling tales to us on the stage. We are one. We are alien.
Unfortunately, such moments are few. Gentry’s static level of delivery and energy drains away a hold on the audience and inhibits variances of energy in performance needing to be accessed and expressed.
David O’Brien
When: 8 to 18 June
Where: The Producers Hotel
Bookings: trybooking.com