Images: Dylan Evans
Brisbane’s winter theatre season is in full-swing each year come July. I often remark to fellow theatre-lovers that we’re spoiled for choice these days – halleluia! It hasn’t always been this way, of course.
Wednesday night last week and we had a world premiere of Kathryn Marquet‘s entertaining new work PALE BLUE DOT, directed by Michael Futcher. It was also the first opening night for new La Boite Artistic Director Chris Kohn and the first time we’ve had a play set in Toowoomba. (Cheer for the home town.) Continue reading Review: Pale Blue Dot – La Boite Theatre Company at the Roundhouse
I’ve come late to 1984; it’s well into the second week of a season that was sold out two weeks before opening. Most of the reviews are in and they are unusually fulsome in their praise for a local production. I’m certainly not going to be different in that regard.
1984 is a cracker of a production – intelligent and theatrically clever as are all of Michael Futcher’s creations as stage director.
Orwell’s horror story of a society diseased by totalitarianism (of either the left or right variety) has been adapted for this production by two of Shake and Stir’s Artistic Directorate: Nelle Lee and Nick Skubij. Both Ms Lee and Mr Skubij are part of the first-rate onstage cast of five which also includes Ross Balbuziente, Hugh Parker and Bryan Probets, who is truly excellent as the hapless and doomed Winston Smith. His skull-like image and haunted eyes are projected large on the huge screen that backs and enlarges the stage action. It complements that of Big Brother and, for those who know the novel, is used in a device at play’s conclusion that perfectly captures the tragedy of Orwell’s novel. The production also features screen and audio appearances from Alexander Butt, Veronica Neave, Naomi Price, Matthew Welsh and Walt Webster. Continue reading Review: 1984 – Shake and Stir at QPAC Cremorne Theatre
Originally published August 12, 2010.
A disclaimer: I serve on the Board of Empire Theatres Pty Ltd. My opinions are entirely my own and should be understood as distinct from any affiliation I hold with this or any other business or arts organisation. The only barrow I push is that of theatre per se.
At the Ekka last week, and quite by chance, I came upon a sign with an arrow pointing up some stairs. It said something like ‘Queensland Quilters’ Association.’ My sister, who knows about such things, insisted we investigate, so I dutifully trotted up the stairs to find a quite superb exhibition of quilts large and small. Now, I know only a bit about quilting: it’s traditionally a woman’s craft, and that quilts can tell a story – they can be in honour of a cause or a special event like a birth or wedding. Quilts are often worked in a communal setting, are usually composed of patches drawn from various sources, and each one is done with extraordinary care. One of the most beautiful pieces in this particular exhibition was done by a woman during the time that her husband was being treated for terminal cancer. She embroidered his favourite rose on each square of the quilt. I imagine this unknown woman stitching piece after piece, keeping busy, staying focussed on something apart from awful reality – at least for a time. It now remains as a chronicle of a life event and will endure as a testament of her love.
As a piece of art and in form and intention, David Burton‘s play April’s Fool reminds me of nothing so much as a quilt – one created out of pieces of grief, regret, anger, guilt and love. The scraps and fragments are drawn from interviews with friends and family, as well as extracts from David Terauds’ diary, kept as his son lay dying in hospital in the first week of April 2009. Using the diary’s timeline as the thread to bind the patchwork together, David Burton has skilfully assembled these pieces into a quilt that enfolds family, friends and, indeed, the entire community. For anyone who has wondered why or how this family could permit, even encourage the telling of events surrounding the death of their eldest child Kristjan from complications following prolonged and excessive drug use, there is, perhaps, the Greek word: katharsis. More directly, perhaps: The story that lets us laugh and cry begins our healing. April’s Fool in its creation and, especially, its telling provides a healing. Continue reading Review: April’s Fool – Empire Theatre Projects Company at Empire Theatre (Toowoomba)