Independent Theatre. Goodwood Institute. 8 Apr 2016
One can see that Denmark is on the skids the moment one enters the theatre. The stage is a huge, crimson disc with a rake like a hillside. Two medieval-style chairs sit beneath a shaft of cruel light. One can almost smell the impending doom. It's another brilliant Rob Croser and David Roach set which hints at the discipline and finesse which goes into an Independent Theatre production.
Hamlet is the longest of Shakespeare's plays but director Croser seems to have tightened it up so that its action thunders past. Swirling bursts of smoke reach out into the audience from this great raised stage. Actors shout and lines are fast.
Today's Hamlet is the acclaimed young actor, Will Cox. He is core to the current Independent ensemble. Wiry, almost gaunt of form, madness falls upon him swiftly. He strides the stage in a slap of bare feet, one trouser leg rolled up to emphasise that he is well and truly awry. He hollers and rails, sometimes right over the top. He's a nasty bit of work. But, when it comes to that great pinnacle of the "to be or not to be" soliloquy, he takes it lying down. It's a philosophically interesting angle which works well because that dramatic rake has lifted the actor into everyone's sight lines.
The supporting cast is tight; everything snappy on cues; a directorial sense of aesthetic ever-present in the plotting of the play. And among the strongest, out of the genre of song and dance theatre, rises Paul Rodda with a voice deep and rich and a delivery which sings of the King's English. He is an imposing Claudius. Bronwyn Ruciak partners him as Gertrude, aching with maternal restraint. Her death scene is truly heart-rending amid the chaos of conflict.
But it is Ophelia for whom the audience waits and Madeleine Herd does not disappoint. Exquisitely costumed in a simple, gold-edged gown, she brings to her mad scene the sweetest sorrow and despair. David Roach has never given a bad performance in his life. Here, as Polonius, he bestows his usual class and authority upon the production and, doubling up as the gravedigger, he performs from a very cleverly-devised cavity in the rake. It is here that Hamlet laments poor Yorik, caressing the skull, bringing forth effectively that thematic spirit of the frail mortal coil.
Sheldick Yarkpai embodies Hamlet's loyal friend, Horatio. His presence is fine and his voice beautiful, but his lines are hard to decipher. Rosencrantz and Guildenstern are played by Jordan Carling and Jett Zivkovic in a well-foiled partnership. The actors doubled in other roles, with Zivkovic giving a notable performance as Laertes.
Independent's veteran, the beloved Allen Munn, plays Priest and Player King with smooth authority with Mark Mulders and Stephen Schofield as entertainers and extras.
And thus was Hamlet of 2016: striking in its magnificent lighting and design; beautiful in its finely-wrought costumes; and on the bombastic side in general tenor. Perhaps the shouting was too much. Perhaps the Shakespearean dialogue sometimes was gobbled. Certainly, as the players settled in to their parts and the opening night audience into those strange seats, the production found its feeling - desperate, wild, dangerous, and distressing, just as the author intended.
Samela Harris
When: 8 to 16 April
Where: Goodwood Institute
Bookings: trybooking.com
Reader's Note: Paul Rodda is Editor for The Barefoot Review
Photography by Jacqui Munn
Therry Dramatic Society. Arts Theatre. 31 Mar 2016
American high society of the 1930s, tabloid journalists, champagne, love and politics. It's all in there, the ingredients which have kept Phillip Barry's romantic comedy regularly ticking over at the box office.
Therry has gone all-out in this production creating sets so lush, lavish and complex that the stage crew actually takes a bow after the big change. First, there is the grand formal sitting room of the Lord estate in Philadelphia, complete with antiques and art. Then, with the well-choreographed manoeuvres of a large stage crew costumed as domestic servants, the wall flaps are unfolded and a gorgeous trellised porch is realised. Credit for this starring set goes to director Kerrin White along with the late Vince Eustace, a Therry backstage stalwart for whom this was to be the last show. It makes a grand exit for a set designer.
Complementing this impressive achievement is Jason Groves' fine lighting design and a mass of generally terrific costumes.
Renowned for the lead role of this play back in the day was the Hollywood great, Katherine Hepburn. Interestingly, Lauren Renee, the young actress here playing the role of Tracy Lord, rates Hepburn as her great pinup and imbues her performance with an uncanny semblance of the late star. And, most engaging she is. She is among those onstage who do fairly well with the American accent, albeit with a few too many soft 'A's.
As Tracy's little sister, Dinah, Henny Walters gives another performance which shows that she is a vivid young actress who is definitely going places.
Meanwhile, Celine O'Leary as the mother, Margaret Lord, is a picture of sheer grace and staid elegance.
Generally the performances are strong, John Leigh-Grey and Ron Densley deliciously fusty as Uncle Willy and Sandy Lord respectively, James Whiterow imposing as reporter Mike and Brad Martin nicely pompous as the politician on the marital make. As the ex-husband, Dexter, Aaron MacDonald swans around with cardigan slung round the shoulders and is surprisingly touching, at moments stealing the show. Zoe Dibb as the Spy Magazine photographer is charmingly long-suffering with Roman Turkiewicz solid as Seth. The large cast is nicely rounded off by Daniel Malcolm as the fresh-faced young valet, Cherie Kennett as the maid, and whistling Stanley Tuck as Mac, the security man.
The production was smooth enough on the opening night and one hopes it may gain a bit more oomph as it runs into season. It is what Dame Edna would describe as "a nice night's entertainment".
Samela Harris
When: 30 Mar to 9 Apr
Where: Arts Theatre
Bookings: trybooking.com
Lunchbox Theatrical Productions, David Atkins Enterprises and Base Entertainment Asia in association with The Really Useful Group. Adelaide Festival Theatre. 20 Mar 2016
I love Cats; but it is well known as one of those love-it-or-hate-it musicals. It is easy to understand why… but amongst the well initiated, it is rare to find one who does not enjoy it immensely, or at-least sit in awe of the skill, talent, and sheer athleticism of the cast.
It is often said that the show has no plot – though this is of course not at all the case. The tail (pun intended) occurs on the one night of the year when a chosen cat amongst the Jellicles ascends to the Heaviside Layer to be reborn into a new life. As the Jellicle cats gather they notice they are being watched and decide to explain to the onlookers what a Jellicle cat is; The Naming of Cats. Victoria the White Cat (Jade Hui-Wen Coutts) performs a stunning dance that signals the start of the Jellicle Ball in The Invitation To The Jellicle Ball and the cats begin to speculate who might be chosen to ascend.
Munkustrap (Matt Edwards - swing) has a cat in mind, and introduces Jennyanydots (Holly Meegan) who fills her days and nights teaching the mice and cockroaches manners, music, crocheting and tatting. Edwards has a commanding presence, and towers regally over his Jellicle clan. Meegan leads a spectacular tap routine which instantly demonstrates the vast talents of the performers and kicks the show off with a huge injection of energy and life!
That is until Rum Tum Tugger arrives (Daniel Assetta), stealing the attention of the ladies, and doing as he pleases. Rum Tum Tugger has undergone a musical ‘update’ of sorts in this latest production, dragging it from its 80s, hip swinging, Elvis ways into a 90s hip hop, rap number – think of Will Smith’s opening theme in The Fresh Prince of Bel-Air.
This update doesn’t work, and traditionalists will be quite put off.
As the show continues we meet Grizabella the glamour cat (Delia Hannah), Bustopher Jones (Josh Piterman), and Mungojerrie and Rumpleteazer (Brent Osborne and Dominique Hamilton), each who impart their own catty tales before the arrival of the much adored and respected Old Deuteronomy (Jason Wasley).
Hannah reprises her role as Grizabella - a role she received a Helpmann nomination for in 2010 - and she returns with a much more mature interpretation of the glamour cat. Her performance of Memory is poignant, though at times, on opening night, rushed ahead of the orchestra.
Wasley’s Deuteronomy, despite being slighter in physical stature than his predecessors, is earnest and commanding in both voice and performance; more than compensating for first impressions.
After Munkustrap regales us with a tale of the Pekes and the Pollicles and the great Rumpus Cat, it is finally time for The Jellicle Ball; a spectacular dance break wherein the players deliver some of the most physically demanding and impressive contemporary and classical ballet and jazz forms.
Asparagus (Josh Piterman) is welcomed into the gathering and as the moon appears, Old Deuteronomy speaks about The Moments of Happiness. Jemima (Stephanie Silcock) picks up on his intention and sings, in beautiful soprano voice, a short reprise to Memory. Silcock has her work cut out for her playing in the role made famous by Sarah Brightman, and voiced beautifully by Helen Massie in the 1992 Really Useful Productions’ film; for the most part she pulls it off with aplomb.
As the cats continue to wait for the time of the Jellicle choice, Jellylorum (Samantha Morley) tells a short story about Asparagus (senior) in Gus: The Theatre Cat. Morley’s voice is reminiscent of Tanner’s from the original cast – as too are most of the castings, bar a few clear exceptions.
The whole production, save the few musical and theatrical modernisations, is very much a restaging of the original, down to each mannerism, characterisation and step of choreography.
Gus takes us on a journey into his memory wherein we relive one of his great performances as Growltiger. This number should be the first to go in an update. The dialogue is difficult to understand - as could be said for much of the production according to a first time spectator who joined me, completely unaware of the premise or contents of the musical – and the Italian aria really adds nothing to the overarching narrative.
With the introduction or Skimbleshanks the railway cat (Ross Hannaford) and an abrupt entrance by Macavity (James Cooper) to kidnap Old Deuteronomy, the final act is nearing its close. Hannaford’s Skimbleshanks is as bouncy as can be, and although the demanding choreography would be unbelievably taxing Hannaford sings up a storm in the character part.
As Macavity steals away, Demeter (Amy Berrisford) and Bombalurina (Erin James - swing) lend all of their sexuality to Macavity, eliciting wolf whistles from an appreciative and positively enthralled audience as they wiggle and grind their bums and tails. With a suggestion from Rum Tum Tugger on a way to get Old Deuteronomy back, Mr Mistoffelees (Christopher Favaloro) appears from the heavens and single-handedly outdances the entire cast with a show of balletic skill which would put most dancers to shame. Finally he conjures Old Deuteronomy from under a sheet and the Jellicle choice can take place.
As Grizabella makes her final return, she sings a rousing version of Memory which finally elicits the attention of the Jellicles and sees her selected to ascend to the Heavyside Layer. The show closes with Old Deuteronomy schooling the onlookers in the Ad-Dressing of Cats.
If you were unlucky enough to have been at the 2010 production which toured through Adelaide, don’t let that put you off seeing this reworked show from the original creators.
Cats is a terrific distraction from the real world and a chance to engage one’s imagination, letting these talented performers aid you in personifying each and every feline friend or foe you’ve ever had.
I highly recommend everyone sees this wonderful production. Don’t listen to the haters and detractors. A production of this standard is your best chance at enjoying the show, even if you don’t come away loving it – so check it out.
Paul Rodda
When: 18 Mar to 10 Apr 2016
Where: Festival Theatre
Bookings: bass.net.au
DANDL. Adelaide Fringe. Bakehouse Theatre. 12 Mar 16
Inner life monologues don’t come more brilliantly written and performed at hyper speed than Eddie Morrison – Maximum Breakdown.
Eddie Morrison lumbers onto the stage of the Studio at The Bakehouse, which is liberally set up as if it was a cross between a back stage dressing room and avant garde one man show stage set. He whips off the Sonic The Hedgehog tshirt he’s wearing and precedes to pull another one off a rack of clothes and puts it on. The weirdness the audience is about to be enthralled by has been clearly telegraphed.
An hour of hyper edgy, egomaniacal, pump it to the max comedy ensues as the ‘completely bent on excellence before an audience’ Morrison blends surreal tales of his rather demented childhood, with artistic goals gone to seed, and battles with his manager sitting up in the bio box behind the audience.
The fabulist nature of Morrison’s writing and performance is superb, utterly gripping, giving us a sense of madness with so much imbued ‘truth’ behind it we happily accept the flipped out world he transports us to.
Eddie as a mad fool-like character is one you worry for, even as you laugh. One, whose desperation is recognisable to all, but easily deniable to ourselves that we too have been to this place, His nervous, poor microphone technique proving the perfect avenue to hook and keep the audiences’ sympathy. We care for this crazed maniac. How much, we’re not really sure, but we’re happy to listen, happy to laugh, and happy to marvel at the magic happening before us.
David O’Brien
When: 3 to 12 Mar
Where: Parks Theatre Two/Bakehouse Theatre – The Studio
Bookings: Closed
Parker and Mr French. Gluttony - The Octagon. 12 Mar 2016
I was lucky to get a ticket to this sold out show from Hugh Sheridan himself. He was catching the breeze in the Fringe Club one night and consulting with the chair of the Adelaide Critics Circle. The ACC gave California Crooners their Best-of-Fringe award for Week 1 and the show - lucky you - is back for a second week to Monday, 14 March.
Hugh, baby, is Adelaide's own. A graduate of Unley Youth Theatre, he is the Numero Uno ticket holder for the Port Adelaide Football Club. Internationalising after the Victoria College of the Arts by winning a scholarship to study acting in New York from State Theatre, he wound up in Packed to the Rafters and earned a Logie for the Most Popular New Male Talent. That's code for hunk. Currently he's tickling chins in Tinsel Town, but along the way he teamed up with a couple of equally high octane crooner-types and stapled together this show. What you would have seen three weeks ago was the world premiere including three Adelaide musos to blend with the canned horns.
Friday was extremely off scale hot and the a/c in The Octagon was no laughing matter. The crooners soon forsook their impressive tuxedo jackets and ties - even their shirts - and necessarily delivered all but the first two songs in T-shirts, not that anybody minded. The opening number, Come Fly With Me, is an incendiary tune in the mouth of one crooner, but as a melody and in parts Three Tenors style, the temperature was raised to boiling.
It was going to be a white hot night from then on.
The golden tunes were just a starter as the boys strutted with panoply of styles from hip hop and rap to Justin Beiber. Emile Welman of South Africa has a heavenly high voice. Gabe Roland of Kansas City channeled Ray Charles as only a white person could. Hugh Sheridan was on fire with a boy-next-door kind of sweetness - and his pride in premiering the crooners in his hometown was palpable. The boys mixed into the crowd, shook hands and serenaded when the occasion arose. Their friendly banter made you want to chum around with them. My wife thought they were all lovely to look at and that's an understatement. Even though the swelter in the shelter of The Octagon was raised by the general high quality on offer, the heat was maxed when the boys synchronised their vocal energies. Their debut single, Just A Little More, was alarmingly catchy.
I hope you can make time in your life to witness history in the making. Double bravo!
David Grybowski
When: 12 Feb to 14 Mar
Where: Gluttony - The Otagon
Bookings: adelaidefringe.com.au