By Willy Russell. Christine Harris and HIT Productions. The Q Theatre. 26 Oct 2016

A higher education can open doors to worlds of possibilities and opportunities for anyone, but for people of lower socio-economic status it can dramatically change the trajectory of one’s life.

However, in the quest for a better life it could be tempting to dismiss one’s own lived experience to date as inferior, and present as a blank slate in order to allow new and supposedly superior knowledge and ways to be imprinted on one’s psyche.

Educating Rita is the story of a plucky young woman from 1980s Liverpool, whose thirst for learning and self-improvement leads her to shed her working class skin, and with it part of her uniqueness, to break free from the restrictions imposed by her station in life.

Rita (Francesca Bianchi) is a bright but dissatisfied hairdresser who joins the Open University programme at an English university to study poetry. Her assigned tutor is Frank (Colin Moody), who is a burnt out, cynical academic whose ambitions as a poet never quite came to fruition.

Despite their respective differences, it turns out they have much to offer each; Rita’s frankness and passion inspires and energises Frank, while Frank’s hefty intellect feeds Rita’s hunger for learning. A strong connection is forged over the course of a year, and the two embark on a journey that falters when the student begins to outgrow the teacher.

Like the written works recited throughout the play, the script itself for Educating Rita develops into its own work of poetry. As the bond between Rita and Frank deepens, and as Rita’s thinking matures and refines, the gripping, eloquent dialogue also takes on a higher level of complexity and meaning that can be interpreted on various levels.

Bianchi as Rita is a force to be reckoned with and a joy to behold, bringing a perfectly synthesised blend of vulnerability and fearlessness to her role. She pulls off an impressive Liverpudlian accent, and uses it to great effect – managing to avoid the pitfall of this type of character becoming a dehumanised caricature.

Moody also nails his interpretation of Frank, showcasing his talent as an impressively intuitive and nuanced performer. The intellectual fireworks between he and Bianchi are glorious, and together they provide some truly moving, unforgettable moments of theatre.

With every scene being set in the same room, the upbeat 1980s musical interludes are especially nice touches that work well to give some breathing room to the performers during each change, but also to provide a lively and era-appropriate ambience.

Overall, this production of Educating Rita has clearly set a high bar for itself and succeeds in going on to meet these lofty standards. Theatre itself is such a wonderful opportunity for learning and self-development, and one is definitely guaranteed to glean some wisdom from this pearl.

Deborah Hawke

When: 26 to 29 Oct

Where: The Q Theatre

Bookings: Closed

Sydney Theatre Company. Canberra Theatre Centre. 13 Sep 2016

The month of September is highly anticipated in Canberra – it brings with it the thawing out of the ACT after an oppressive winter, enthusiastically celebrated with our festival of many tulips, and also the chance for the political capital to thaw out its sense of humour by the fires lit underneath our pollies in The Wharf Revue.

After last year’s ‘best of’ production, The Wharf Revue crew are back in 2016 with Back to Bite You, featuring brand spanking new material and Katrina Retallick replacing Amanda Bishop as the sole female performer among the gents – namely, Jonathan Biggins, Drew Forsythe and Phillip Scott.

Playing on the language of a plebiscite, the show takes on a highbrow Julius Caesar theme this year (2016 AD), recreating the rise of Malcolm Turnbull (Caesar) as Prime Minister (an event which occurred right on the opening night of last year’s production) amongst the lofty white columns of the Ancient Roman Empire.

This choice of setting has proven an incredibly rich source of inspiration, with more puns and allusions than you can poke a sponge-on-a-stick at. Here you will find such characters as ‘Cordicus Barnardis’ et al plotting the conservatives’ comeback and lobbying against ‘slave-sex marriage’, while Hinchilus the Gladiator and Xenophon the Greek wield their freshly bestowed powers.

Of particular note is the seductive and surprisingly accomplished fan dance by Antonius Abbottus (Biggins) in his red budgie smugglers; revealing a talent that would give any burlesque performer a run for her money.

In terms of debuts, Retallick smashes it in her now trademark roles (Juliana of the Vacillating Virgins, Hillary Clinton) and unleashes an operatic prowess to match her predecessor. The transition is seamless and Retallick really hits the ground running, finding good chemistry with piano virtuoso Phillip Scott.

As audiences have come to expect from every The Wharf Revue production, the content in Back to Bite You predominately remains an exercise in painstaking research and articulation, with the script crafted with the skill of an artisan. Dream Team writers, Biggins, Forsythe and Scott are an intellectual force to be reckoned with, though their witticisms often so deft and unrelenting that one can easily blink and miss them.

Admittedly, there is a point towards the end of the show where the subject matter turns to American politics and things fall a bit flat. While still clever and relevant, these last few offerings just don’t have the same impact as their preceding pieces in Back to Bite You – perhaps it is the reality of the upcoming US election that takes the wind out of the production’s sails for those final moments.

Overall, The Wharf Revue this year is its usual, laugh out loud, harbinger of Spring. Few people know how to do satire better, and it’s always such a treat for this troupe to peddle their wares in our city. The relationship between them and Canberra is a mutually beneficial one, and I’m sure the capital will provide ample fodder for them to come back and entertain us with as the frost melts in 2017.

Deborah Hawke

When: 13 to 24 Sep

Where: Canberra Theatre Centre

Bookings: canberratheatrecentre.com.au

By Tom Davis. The Street Theatre. 9 Sep 2016

If you grew up watching many of the binary-ridden films and popular theatre shows released over the past decades that essentially moralised by pitting “goodies” against “baddies”, you’d be forgiven for struggling with post-modern productions that refrain from telling you what to think.

While I expected that there would be an in-depth exploration of the subject of overseas aid throughout The Faithful Servant, my habituated brain was somewhat in deep-freeze, anticipating the delivery of a self-righteous message about the NGO industry that would wrap the show up into a nice, tidy package.

However, far from being about placating minds on ice, The Faithful Servant seeks to provide people with an intellectual workout - emphasising the shades of grey while choosing to make what is a highly political topic very personal, and also relatable to a local audience.

Dr Raymond Gerrard (Peter Williams) is a young Australian surgeon/zealous Christian who goes on a mission in the 60s to serve the poor in rural Mozambique. He goes on to establish the NGO ‘Australians for Hope’, as well as a local hospital and eventually a life in the troubled African nation for the next 50 years.

As reality sinks in, Dr Gerrard becomes less the idealist and more the pragmatist as the relentless conflict and poverty in Mozambique wear him down. As the play jumps between decades, we discover the extreme complexity that he

, his trusted assistant Coetano (Dorian Nkono) and his adopted daughter Caroline (Tariro Mavondo), must navigate in order to serve in this precarious environment.

Pretty much every element of The Faithful Servant is inescapably confronting: the set (by Imogen Keen) is designed in a catwalk fashion with the audience facing each other as well as the intense highs and lows on stage, while the deafening sounds of chaos and violence intermittently pierce the atmosphere.

While there is often a lot going on at one time there is a choice in regards to where one places their attention; common everyday in reality, but quite a novelty for theatre where the audience usually have no choice but to literally absorb whatever is put in front of them.

Like playwright Tom Davis’s last ambitious production with director Caroline Stacey, The Chain Bridge, The Faithful Servant is infused with the guidance of cultural advisors, allowing the play to avoid offensive stereotypes or inaccuracies and giving it a real sense of depth and authenticity.

The way the stories of the characters combine is also fascinating, enabled by the committed and impeccably focused performances of Williams, Nkono and Mavondo. They are all superbly accomplished actors in their own right who hav

e nailed the lofty challenges set to them in this production, and each keep raising the bar in terms of their range right through to the final scene.

Like most contemporary plays nowadays, The Faithful Servant also utilises multimedia platforms in creative and innovative ways that contribute a great deal to the storytelling and overall ambience of the show. The packages are cleverly crafted and seamlessly integrated – adding important developments into the story.

The Faithful Servant is a frank and fascinating behind the scenes glimpse into the complicated microcosm of overseas aid NGOs, and the intersection of lives when worlds collide through this work. Don’t forget to bring your thinking cap!

Deborah Hawke

When: 6 to 18 Sep

Where: The Street Theatre

Bookings: thestreet.org.au

The Laughing Samoans. The Street Theatre. 20 Aug 2016

With such a massive saturation of American culture throughout Australia, the prolific amount of U.S. media content not only drowns out homegrown talent, but also that of our rather entertaining island neighbours. This phenomenon is evident in the fact that, despite establishing themselves as a comic duo some 13 years ago, I have never had the pleasure of watching The Laughing Samoans until now.

However, just like Australia’s Gina Riley and Jane Turner with their wildly popular Kath and Kim characters, Samoan raised and New Zealand-based Eteuati Ete and Tofiga Fepulea’I have done a sterling job of celebrating their unique culture and carving out a space for it on the otherwise rather homogenous world comedy stage.

Widespread recognition aside, it is quite clear The Laughing Samoans are also a source of great pride for their fellow Polynesians, with Canberra’s Pacific Islander community out in force this night to show their impressively strong support at The Street Theatre.

Never before have I seen such enthusiastic resonance with a crowd, with the words, “It’s so true!”, being exclaimed frequently between fits of roaring laughter. And while some jokes may go over the head of the non-Islanders during the show, the experience is nothing if not a fascinating and valuable insight into many aspects of their culture.

While the subject matter of Island Time is contemporary, what’s really great about this show is that it revives a time before families were distracted by the internet and other technologies, where the gifted yarner would entertain everyone for kicks and giggles on a Saturday night. Telling a good joke or story used to an artform, and over the years this tradition seems to have been lost, much to the detriment of social gatherings everywhere.

Another reason for Ete and Fepulea’I’s ‘good old days’ appeal is that their Islander-infused schtick is very much the classic Double Act, à la Laurel and Hardy, with Ete very much the straight man. They play off of each other as effortlessly as you would expect between old friends, and the fact that they are having as much fun as the audience during their skits creates a wonderfully genial and down to earth atmosphere.

Island Time is good, clean, family fun, with a relaxed, no-rush vibe (island time if you will) that showcases the brilliant talents of our friends across the ditch. The Laughing Samoans certainly warmed the cockles of Canberra’s collective hearts on this particularly freezing winter’s night, and their next show in the capital will no doubt be eagerly anticipated.

Deborah Hawke

When: 20 Aug

Where: The Street Theatre

Bookings: Closed

Canberra Youth Theatre. Gorman House Arts Centre. 23 Jul 2016

We live in a mediated world where a good portion of the messages we are bombarded with everyday are carefully crafted by the media machine. So much so that it’s almost a novelty when one hears honest, spontaneous and unrehearsed discussion on matters from so-called “ordinary people” in productions like The Verbatim Project.

The Verbatim Project is more like a presentation of research findings from a social experiment rather than a traditional play. It is the result of three months worth of 10 teenagers and six elder-Australians exploring and recording their thoughts on everything that’s really important throughout a human life. This material has then been incorporated in various ways, verbatim, into this impressive work by the Canberra Youth Theatre.

Through the blending of audio and video vox pops and live re-telling, the 16 participants take us on an intimate journey through the lofty themes of love, death, anxiety, gender and family. However, the production also facilitates the performers walking in each others’ shoes by taking on their cast mates’ stories and demeanours – which is especially entertaining and revealing when the young and the elderly swap roles (young people sure do say “like” a lot!).

However, The Verbatim Project is not simply a talkfest. Each theme is portrayed through the meaningful and effective use of different theatrical techniques, such as interpretive dance, monologues and vignettes. This variation, combined with swift pacing and a creative use of lighting, ensures a highly engaging experience for the duration of the show.

What is so compelling about The Verbatim Project is that it makes one stop and reflect on what it was like to be young and have all the great mysteries still in front of you. It reminds one of all those overwhelming questions about what it’s like to fall in love, what your life will be like as an adult and how it feels to lose a family member; as well as the absolute importance of having the wisdom and experience of older generations to help light the way.

It’s also refreshing to see such a balanced representation of young and older Australians – these age groups are so often subjected to stereotypes, and The Verbatim Project injected a great deal of depth and insight into what it’s really like to be a member of these particular demographics.

This production fosters understanding of complex human matters in an articulate and thoughtful manner. It’s an opportunity to ditch the sensational views surrounding us for a short while and gain some reasoned perspective from both up and coming local talent, and the people guiding them through their journeys.

Deborah Hawke

When: 21 to 24 Jul

Where: Gorman House Arts Centre

Bookings: Closed

By Hannie Rayson. Red Stitch Actors Theatre and Geelong Performing Arts Centre. Canberra Theatre Centre. 20 Jul 2016

Animosity between environmentalists and the fossil fuel industry in Australia has been an entrenched part of the country’s social landscape for a long time. However, with the rate, scale and severity of environmental damage escalating dramatically in recent years, tensions between the two sides has never been greater. Despite this, it isn’t often that environmental issues feature so strongly or directly in theatre productions as they do in Extinction.

This is a great shame for two reasons: firstly, the environment and the services it provides underpins human survival; and secondly, the passion which so many people feel towards the environment, and the work they do to protect it, means there is no shortage of dramatic material to work with. Extinction is an eco-drama that tackles this theme head-on, exploring the daunting challenge of preventing, or at least slowing, the extinction of our native fauna.

American zoologist Piper (Ngaire Dawn Fair), and her veterinarian boyfriend Andy (Brett Cousins) are passionate environmentalists working hard to protect native animals through their respective occupations – Piper also works for Andy’s sister Heather (Natasha Herbert) at a university research institute. When the institute is offered a bucketful of cash from charismatic coal miner, Harry (Colin Lane), to carry out his pet conservation project, everyone’s moral compasses are sent spinning out of control.

It is quite ironic that the commissioning of this play was originally funded by the Alfred P. Sloan Foundation – a non-profit organisation founded by an industrialist to educate the public about economics and capitalism, among other things. While Extinction was written with the aim of teasing out the tensions and complexities between environmental preservation and the need to generate electricity for an energy hungry world, there are some assumptions within it that sit a little uneasily.

For example, it seems Piper, the stereotypical ‘manic eco-pixie dream girl’, and Andy’s commitment to environmental conservation is readily labelled as neurotic – simply a result of immaturity and unresolved emotional problems. Conversely, the world-weary Heather and Harry are portrayed as the voices of reason; the realists who know how the world really works. However, the rapid rate at which Harry is able to seduce, corrupt and compromise both Heather and Piper is the real humdinger – an insult to the intelligence and integrity of both women and environmentalists.

These criticisms aside, Extinction is actually an intelligent, intensely gripping piece of theatre. The performances by Fair (who put on an accomplished American accent by the way), Cousins, Herbert and Lane are top shelf and utterly entertaining – with admirably strong teamwork on display as they masterfully navigate the chemistry and complex dynamics between their characters.

Also impressive is the amount of research into the subject matter that was clearly undertaken in writing this play. A great deal of attention is paid to details regarding cultural language, scientific jargon and the current state of affairs more generally regarding these two very different and opposing worlds.

The design team (Shaun Gurton, David Parker and Daniel Nixon) also deserve kudos for their creation of such a slick and sophisticated visual aesthetic. The projected images and authentic soundscapes used to transport the characters from the city to the bush were highly effective, with the big finale admittedly a massive tearjerker.

While succumbing to stereotyping at times, overall Extinction is a reasonably balanced portrayal of the age-old shit-fight between environmental conservation and sustainability and the opportunistic exploitation of earth’s resources. You won’t find any solutions or mended bridges, but at least the issue is being explored in a thoughtful and considered way on such a broad-reaching platform.

Deborah Hawke

When: 20 to 23 July

Where: Canberra Theatre Centre

Bookings: Closed

By Raoul Craemer. The Street Theatre. 25 Jun 2016

Writer Maya Angelou was quoted as saying that “…people will forget what you said, people will forget what you did, but people will never forget how you made them feel” – when one doesn’t understand what someone is trying to say, it makes one feel frustrated.

This autobiographical play, written and performed by Raoul Craemer, explores his complex relationship with his nationalistic German paternal grandfather. Already struggling to accept Craemer’s Indian heritage from his mother’s side, his grandfather unleashes his vitriol when family secrets begin to unravel.

While there is nothing wrong with a play being a little cryptic, there is a threshold beyond which it becomes too much work. Audiences are often willing to meet a performer halfway, but when the burden to decode meaning becomes too great it’s hard not to switch off.

There is no doubt that Raoul’s family history is compelling – but it would be much more interesting if it were told in a less obscure and stream of consciousness-type way. In this sense, Pigman’s Lament comes across as unprocessed; a bunch of rambling, random thoughts that have not yet formed a cohesive story.

Adding to the frustration are production issues regarding the line of sight, with Craemer often disappearing out of view to the floor for sizeable chunks of time. With the dialogue difficult enough to follow as it is, having a seemingly abandoned stage to contend with just exacerbates the situation further.

However, a highlight of Pigman’s Lament is the lighting (by Gillian Schwab) and set design (by Christiane Nowak), that facilitates some nightmarish, Hitchcock-esque special effects for the intense moments of confrontation between Craemer and his grandfather.

There are so many potential points of interest to the diverse ACT audience left unexplored in this production. With such rich material to work with, it is a shame that the play ignores these and instead succumbs to rampant introspection. A bigger picture perspective on these life events may have done the trick.

Deborah Hawke

When: 24 Jun to 3 Jul

Where: The Street Theatre

Bookings: thestree.org.au

By Andrew Bovell. State Theatre Company of South Australia and Frantic Assembly. Canberra Theatre Centre. 8 Jun 2016

You’d be hard pressed to find a suburban Australian family struck by as much misfortune as the one at the centre of Things I Know To Be True; what at first ones assumes is a sophisticated take on The Castle, rapidly morphs into a melodrama of epic proportions.

Fran (Eugenia Fragos) and Bob (Paul Blackwell) are the proud working class parents of two grown sons Ben (Nathan O’Keefe) and Mark (Tim Walter) and two grown daughters – Pip (Georgia Adamson) and the youngest, Rosie (Tilda Cobham-Hervey).

Nestled in their home in the coastal suburb of Hallett Cove in South Australia, life is picturesque – or so it seems. Peeling back the façade reveals the hurts, secrets and sacrifices that lay festering beneath the surface like untended wounds fuelling destructive behaviour.

What each member of the family have in common is what a gentleman sitting in the audience succinctly describes as “wanting more” than the comfortable but ultimately dissatisfying lives they lead. As is usually the case, it takes a tragedy for everyone to count their blessings.

Although this all sounds terribly histrionic, their individual and collective stories are compelling and told eloquently. Even more intriguing is the unpredictable and complex ways in which each person responds to the actions of the others – unearthing great depth in the characters and their backstories.

Symbolising the connectedness and support of family, interpretive dance is utilised intermittently to great effect. While often a cringe-worthy medium, in this instance it is a thing of poignant beauty.

Fragos as the fierce matriarch and Blackwell typifying the classic Aussie dad power the production as veteran performers, showcasing accomplished emotional range via their unique dynamics with each other and their onstage brood.

O’Keefe, Walter, Adamson and Cobham-Hervey give strong, yet achingly vulnerable performances – really stretching out the skins of their characters. It can sometimes take a while for actors to fully ease into a role during a play, but in this case all are warmed up and ready from the get-go.

The set, while threadbare, is imaginatively designed (by Geoff Cobham) and greatly enhanced by the warm glow of the intimate, starry lighting. The backyard, dominated by an old gum tree, is emblematic of a childhood familiar to many Australians.

Being a coastal South Australian, it is wonderful to see the state’s own special flavour expressed and celebrated on the stage. Specifically, it’s not often that the southern suburbs of Adelaide are represented through a production of such prestige, so it’s nice to see a spotlight on that charming part of the world.

Things I Know To Be True certainly amps up the drama, but is done so elegantly that one never requires convincing to buy into the story. To the contrary, it is a highly relatable and moving work that provides an abundance of food for thought – and will perhaps leave you with a little more appreciation for your own tribe.

Deborah Hawke

When: 10 to 11 Jun

Where: Canberra Theatre Cnetre

Bookings: canberratheatrecentre.com.au

(Or How I Became a Birdwatcher). By Steve Abbott. The Street Theatre 28 May 2016

I choose to start my review, now: If you listened to Triple J radio or watched Good News Week in the nineties, you’ll be well familiar with Steve Abbott’s alter-ego, The Sandman – that classic Australian character that sounded like a sardonic Bernie Fraser and doled out sound advice to the unpopular.

But like many of our country’s great comedic creations, there came a time when The Sandman persona had run his course and it seemed fit to retire him from public life; well, easier said than done. What Happened to Sandman (Or How I Become a Birdwatcher) is about Abbott’s struggle to untangle his identity from a character that defined him and stubbornly clung to his side.

While grabbing a drink ten minutes before the show is about to start, the sound of Abbott at the microphone booms through the door of Street Two. Worriedly checking with staff that the show hasn’t started early, they shake their head and smile – it’s just Abbott’s quirky way of breaking the ice and the formality of the atmosphere, and it works a treat.

The show proper is a whimsical exploration of Abbott’s years of embodying The Sandman. Commencing with a candid backgrounder on the birth of this persona, the show continues on through his reigning moments and eventual free-fall brought on by flogging a subversive character that’s past its use-by date to a mainstream audience.

Admittedly, it is surprising to witness how different Abbott is from The Sandman: upbeat, quick-witted and incredibly genial, with a real talent for bird calling. As a performer in his own right he is engaging, working the crowd like a boss and creating a warm and relaxed atmosphere – even rounding off the evening with a friendly farewell at the door.

The skits peppered throughout the tight, hour or so show are also an absolute delight – taking full advantage of being in the capital with the obligatory Canberra gibes (it’s ok, we’re used to it). Really hamming it up, Abbott took riffing to a whole new level and absolutely revelled in it.

What Happened to Sandman (Or How I Become a Birdwatcher) is a personal experience of letting go, and a story about the unexpected but fulfilling paths in life one takes while navigating through that process. Rest assured though that The Sandman legacy will live on in the hearts of the generations that were lucky enough to experience such a defining, golden age of comedy in this country.

Gone but not forgotten.

Deborah Hawke

When: 28 to 29 May

Where: The Street Theatre

Bookings: Closed