Image (supplied QTC): Christen O'Leary
At the time Judy Garland was destroying herself behind closed doors and on stage at Talk of the Town nightclub during her last concert season I also happened to be in London.
It was the winter of 1968-69 and I remembered seeing snow then for the first time. I didn't, however, see any of Ms Garland's shows during that 5 week season not only because I couldn't afford it, but also because I wasn't interested. Judy Garland was somewhat passé, known less for her artistry and more for the sad scandals that continued to plague her life - a bit of an embarrassment, really and old, after all.
I remembered hearing about her death in 1969 and, although finding it sad, was not surprised. At the time of her death aged 47 - what I had thought of as old - she was already iconic but the legend that was 'Garland' - the tragic, self-destructive artist - continued to grow after death. It was via the legend that I got to know about Judy Garland and heard her songs and saw her movies and watched black and white documentaries of her performing solo and with daughters Liza and Lorna and then Liza talking about 'Mumma.'
Then, along comes Peter Quilter
's semi biographical play with music End of the Rainbow
in a co-production by Queensland Theatre Company and QPAC. First produced in Sydney in 2005 and subsequently world-wide, this big, new production directed by David Bell
focusses on the last seven months of Judy Garland's private life - that time we 'shared' London - she in a suite at the Ritz Hotel, me in a basement bedsit in Shepherd's Bush. Continue reading Review: End of the Rainbow – Queensland Theatre Company and QPAC at the Playhouse
This is a big, elemental production. It is austere and physical, stripped back to the essentials. There is no blood, little adornment, no shoes even. The focus is on the actor's body - its material and vocal expressiveness in service of the text. In so many ways it reminded me of Poor Theatre's stripping back to the fundamentals of performance in, as Grotowski attempted to describe it, a '... discarding of masks, the revealing of the real substance: a totality of physical and mental reactions.'
Director Jennifer Flowers
has produced a Romeo and Juliet
that will appeal to those who like their Shakespeare and their acting unvarnished and quick. Certainly, this production is all of that. Playing time is under 2 and a half hours with no interval.
The cast of twelve (8 men and 4 women) inhabit a world that is indeterminate; their unadorned costumes are of another time and place although in setting - elemental stone and water - designer Bill Haycock
(with lighting by David Walters
) has beautifully referenced the coldness of a classical citadel rather than the usual richness and warmth of Verona's Renaissance city. It fits the rest of the production and provides a new viewing of a play whose story is so well known in our culture that even those who have never experienced it on page, stage or screen feel that they 'know' it. Ms Flowers' production is a bold revisioning, and one that may take people by surprise. That's no bad thing at all. Continue reading Review: Romeo and Juliet – Queensland Theatre Company at Playhouse QPAC