Details on company website
Colder: La Boite Indie & Michelle Miall @ Roundhouse Theatre
Showtimes and further details on La Boite website. Book 07 3007 8600
Secret Bridesmaids’ Business: Empire Theatre Projects Company @ Empire Theatre (Toowoomba)
Book online or via Empire Theatre Box Office 1300 655 299
Review: Faustus – Queensland Theatre Company & Bell Shakespeare @ Brisbane Powerhouse
Michael Gow has not so much adapted Marlowe’s and Goethe’s pre-existing Faustus texts as editorialised them with a whole range of other western cultural materials – poetry, drama, music, song and film. He’s woven them together with his own words into a contemporary take on the man who bargains his soul away to the devil in exchange for power and youth.
Gow directs this new play in a highly theatrical realisation that calls upon all the traditions of story-telling: mask, puppetry, song, and multiple role-playing by the ensemble. It’s absolutely 21st century theatre, but this production retains the earthy flavour and naiveté of the medieval theatre’s Morality plays and their lively playing out of the forces of good and evil in the world.
Apparently the devils, imps and vice figures were hugely popular in these early pieces, and so it is here. From the outset we know it’s not going to be a good ending for Faustus (Ben Winspear) but rather his sparring with Mephistophilis (John Bell) and the journey along the way to Hell’s Mouth that will provide the thrills for an audience.
With design by Jonathon Oxlade and lighting by Jason Glenwright the playing space fills the main stage of the Brisbane Powerhouse. Production design supports a range of theatrical delights which include Phil Slade‘s musical composition and Chris More‘s video designs. Continue reading “Review: Faustus – Queensland Theatre Company & Bell Shakespeare @ Brisbane Powerhouse”
Free Range 2011: Steven Mitchell Wright (Interview 21)
Risky, avant-garde and experimental are not words that frighten Steven Mitchell Wright, Artistic Director and founder of The Danger Ensemble; he relishes them. ‘I believe in the power of words and using them to say what we mean,’ and so is happy, in fact, completely unapologetic when using them to position his work as an artist. We talk briefly about why people reject labels – especially ones that appear to take such strong positions like avant-garde or experimental. He’s matter of fact and sweetly tactful. ‘I think it’s just that some people are afraid of being deemed something in case they limit themselves,’ he responds.
Steven’s C-V lists work as performer and creator with Brisbane’s Zen Zen Zo and Frank theatres. Whilst his artistic background lies in dance and theatre, he tells me he has been interested for a long time in the space where music and theatre meet – but not the way they do in musical theatre. He’s appeared at the Edinburgh Festival and directed Amanda Palmer‘s world-tour where her fans experienced a high-end, eclectic theatre show rather than the usual rock-venue presentations they were used to. ‘I’m interested not just in innovation, but in creating new audiences and new experiences for them.’ He’s emphatic about eschewing innovation for innovation’s sake, however. ‘I’m not interested in tack-on gimmicks. It is essential that theatre makers take the time to consider how audiences are going to receive their work. There’s so much influence now from the web-based world and work trans-media,’ he adds, ‘but if the work is about the technology, I’m not interested. There must be humanity at the core.’
Steven’s enthusiastic not only for the work being enabled by !Metro Arts, ‘who provide a place where we can create work we want to do and to investigate the format in which to present,’ but also the wider culture in the south-east of Queensland. ‘We’re in a strong place here,’ he says. I ask him why. He cites generational issues – a lot of young people, strong leadership in the arts, a real feel that change is in the air. ‘It’s a place of opportunity,’ he adds, ‘and there’s a rejuvenated spirit about. People are attempting to create work with a bigger, more confident voice.’ He also talks about local artists getting increased exposure to other theatre practices. He mentions WTF! ‘We’re engaged in creating a strong, sustainable culture right now.’
But right right now, Steven’s got curatorial charge of CROSS-STITCH: WITHOUT APOLOGY (all caps but I’m not shouting) which opens the Free Range 2011 Festival tonight. I ask about his vision for the work. Continue reading “Free Range 2011: Steven Mitchell Wright (Interview 21)”