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.
It’s been a while … at least it feels that way … a while since a post here on Greenroom, and I’ve been feeling the guilt at not reviewing at least three, new, local shows which, due to the generosity of the producers, I’ve had the pleasure of seeing in the past few months. Greenroom is a labour of love for me; I have no editor whacking the timeline stick, and sometimes the labour can get on top of one. The end of year pace and the pressure that creates have been a bit overwhelming to tell the truth. Sound familiar?
I’ve been involved in a few productions, performances and general end-of-year activities that have left little time for anything other than collapsing in a heap in what’s seemed like all too brief snatches of downtime. One fallout from the energy drain has been something new to me: a complete disinterest in writing. I’m going to call it ‘burnout’ for want of a better term, and I know it’s only temporary. At least I trust it will return in the New Year. So, my apologies at the outset to the individuals, companies and groups to whom I am indebted.
Whilst reviews after the fact are less useful to marketing units in production companies, I do know that some appreciate a reflection. Indeed, these memory pieces can be interesting in their own right. What is it that stays with one a week, month, year after seeing a play? I know I have vivid snatches of memory of plays seen over 40 years ago. How these productions made me feel then continues to affect me now.
One of the reasons I started Greenroom back in 2009 was to try to capture an individual slice of the experience of theatre-going. During doctoral research during the 1990s I was shocked to find so little had been captured of Australian theatre over the years. I made a promise that I would try to do my bit to redress the balance if I could. With the internet being a monster archive, it may well be that these posts are also letters to the future. Indeed, if you are reading this (if the technology holds up) many years from when I am writing at the end of 2013. I hope you find it interesting. But, I digress.
It is with this in mind and having wrapped all the Christmas presents and finished my shopping, that I’ve had time to reflect on: MOTHERLAND by Katherine Lyall-Watson; PREHISTORIC by Marcel Dorney, and CONNECT FOUR – a new musical theatre piece with music and lyrics by Alanya Bridge.
With thanks for your interest in reading Greenroom during 2013 and a special hug to Sita Borhani for helping to keep Greenroom engaged. All the best to you and yours for a joy-filled Christmas and a safe and relaxing summer.
Image: Kathryn Marquet and Julian Curtis | Photography: Dylan Evans
We believe in theatre not just plays. (La Boite: About Us – programme THE GLASS MENAGERIE)
So it comes as no surprise that David Berthold‘s production of Tennessee Williams‘ classic play THE GLASS MENAGERIE (1944) is nothing if not theatrical. Perhaps only radio drama can do it better than the stage – you know, the old line about the pictures in radio being better – but this production takes Williams’ poetic play about memory, loss, and especially illusion and recontextualises it beautifully to give us a boldly fresh take on an old classic. Continue reading Review: The Glass Menagerie – La Boite Theatre Company at The Roundhouse
Main Image: Bryan Probets (Touchstone) | Images: Al Caeiro
David Berthold is quickly setting up a tradition for La Boite: opening a season with a Shakespeare, directed by the Artistic Director himself. As You Like It was preceded by Hamlet (2010) and Julius Caesar (2011), in which Berthold proved he could bend the material to his will, creating sexy and contemporary productions. Make no mistake, As You Like It has a completely different feel, and is a more cohesive production than its La Boite forefathers. Indeed, it feels as though Berthold is infinitely more comfortable in the comedy of Shakespeare, and the result is superb production.
As You Like It centres mainly around the love quest of Rosalind (Helen Howard), the daughter of a Duke who has been usurped. Rosalind is banished from the new Duke’s court and takes her cousin Celia (Helen Cassidy) and the court’s jester (Bryan Probets) with her. In order to escape persecution Rosalind disguises herself as a man, and leads her band of exiles through the Forest of Arden in an attempt to find her exiled father (Kate Wilson). But the real spice of the plot lies in Orlando (Thomas Larkin) who is forced to flee the court when he is rejected by his older brother Oliver (Luke Cadden) and then upsets the fascist usurper Duke (Hayden Spencer) by challenging and defeating his wrestler, Charles (Thomas Carney). But before he flees, Orlando and Rosalind fall in love, only to be reunited once again in the Forest of Arden, but with Rosalind in a man’s disguise. Commence Shakespearean gender-bending comedy.
The show is stolen, in my opinion, by an absolutely spell-binding design. Renee Mulder’s costumes and set are absolutely breath-taking.
This is theatre design at its very best, peppered with all sorts of tricks and surprises that the audience never see coming … it’s a spectacular achievement.
Mulder’s work is accompanied by sublime music and sound from Guy Webster, and incredibly clever lighting from David Walters. Together, the trio create a forest of Arden that is warm and inviting. The evocation of a campfire makes the potentially cold La Boite theatre feel small and intimate. The gypsy aesthetic of the the exiled Duke and his kingdom has the appeal of a charming, cleaner Woodford Folk Festival. It’s a spectacular achievement. Continue reading Review: As You Like It – La Boite Theatre Company at The Roundhouse
My local bottle department practically gives away the booze. Pop in any afternoon of the week and there’s almost always a tasting going on – handy little refreshments for drivers heading home after a hard day. The specials are stacked up in tempting piles round the shop. When I remark on the week’s ‘buy one, get one free’ deals, the cheery guy behind the counter tells me that there’s a wine mountain ‘out there’ and that “Someone’s got to drink it.”
La Boite’s latest production, and the last for their 2011 season, is Ruben Guthrie by actor, writer, director Brendan Cowell. In the course of the play Ruben’s Czech girlfriend Zoya refers to Australia as a beautiful ‘alcoholic country,’ and Cowell’s play points its considerable critical armoury right at our culture’s denial of the problem. Someone’s got to drink it after all. Whilst the play is pretty gut-wrenching at times, it’s also wickedly funny. Cowell’s shredding of the ethics of the advertising industry is satirical writing at its best. I think it’s his best play yet.
If this corker of a social satire didn’t make you laugh so much you’d weep. Ruben Guthrie is a tragedy about the fall and fall of a talented young man whose health, career and relationships are ruined by booze and drugs. Ruben creates ad campaigns but wants to be taken seriously as a writer – cockiness masks his insecurity. Ruben’s lifestyle where the ‘caine is freely available and grog flows to inspire creativity, celebrate, commiserate and, well, just because you can, see him sucked under. He loses his girlfriend at the start of the play, gets the wake-up call and decides to go on the wagon. Brendan Cowell’s Writer’s Note speaks of the year in which he gave up alcohol not just because he knew he was drinking too much, but to see what it would be like to go without. The experiences he had, the ‘run-ins’ with his ‘baffled’ friends and family who couldn’t understand his denial of ‘the great drink’ were the inspiration for this play.
David Berthold directs a fine, unvarnished production that takes full advantage of the theatre’s architectural space – we’re back in the round, by the way. Mr Berthold admits to admiring the play greatly, and it’s not hard to see why. Mr Cowell’s witty text flows from the compassion at its heart, and its dialogue springs off the page. Berthold has orchestrated its rhythms and thematics with confidence and sensitivity. The play also needs a gutsy company to have it work the way it needs to, and the director has cast it beautifully.
Ruben Guthrie has a dream team ensemble headed by Gyton Grantley who is on stage as Ruben for all but a few seconds of the action. Mr Grantley’s performance is quite superb; it’s assured and powerful, and his Ruben utterly charming and heartbreaking. He is wonderfully supported by Hayden Spencer as Ray his boss, by Caroline Kennison as his mother Susan, and Kathryn Marquet as Virginia his AA sponsor and lover. New faces Lauren Orrel (Zoya) Darren Sabadina (Damian) and John McNeill (Peter) are terrific as fiancée, best mate and father respectively.
Design by Renée Mulder is stripped back and suggestive of a boxing ring right down to its bright blue squares. It’s absolutely perfect for the no-holds-barred slugfest which is the play. Jason Glenwright (lighting) and Guy Webster (sound) complete the design team with meticulously detailed lighting, composition and soundscapes.
The production is wonderfully theatrical and performative; the audience is brought into the action as Ruben addresses us as fellow meeting attendees. The cast sit around the perimeter of the square within the round and watch the action, setting and striking furniture and props, coming and going into the ring for the ’rounds’ that play out over two acts. Yes, there is an interval where you can get a drink. You are invited to bring it back into the theatre if you wish. As an aside, I asked the bar staff whether sales had been up or down during the season. They indicated rather discreetly that they hadn’t really noticed a difference. You could, however, feel a real tension in the room as Ruben agonises over the temptation of drinks forced upon him by friends and family. I don’t mind admitting my own inner voice was screaming, ‘Don’t do it!’
Don’t miss it. This is an excellent realisation of a very good, contemporary, and very Australian play.
Ruben Guthrie by Brendan Cowell plays at The Roundhouse Theatre for a limited season. Catch it between the time you’re reading this and its closing performance on 13th November. Details on the company website.
Images by Al Caeiro Main Image: Gyton Grantley and Kathryn Marquet
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)