- Who's Afraid of Virginia Woolf? - Free-Rain Theatre Company, ACT HUB: If you’ve ever been to one of those parties which go on too long and you should have left hours ago but somehow you just can’t and it turns into a metaphorical self-flagellation and everyone is ugly, mean and cruel, you will recognise this scenario. Cate Clelland directs Edward Albee’s Who’s Afraid of Virginia Woolf? with an almost uncomfortable intimacy as we come literally face to face with couples falling and tearing each other apart. Albee wrote, "There was a time when people believed in deities. And then revolutions came—industrial, French, Freudian, Marxist. God and absolutes vanished. Individuals find this very difficult and uncomfortable. All they have left is fantasy or the examination of the self." The four actors (Andrea Close; Michael Sparks; Karina Hudson; Josh Wiseman) do an outstanding job of examining themselves for three hours, hiding behind games and illusions because their reality is empty and brutal. Watch this play with absolute admiration; then find someone you love, hold them close, and tell them how much you value them, because the alternative is unbearable.
- Art - The Street, Street One: Directed by Shelley Higgs and designed by Imogen Keen, this production is outstanding. It deconstructs language and theatre itself and builds it back into something cohesive as three men argue over a painting that remains concealed for a good part of the play. Serge (Shane Dundas) has bought it; Marc (Christopher Carroll) thinks it is ridiculous and Yvan (Craig Alexander) attempts to placate both sides without being forced into expressing an opinion. Of course, we take from art what we bring to it, and the men project their feelings, emotions, resentments and frustrations onto the canvas, just as the audience projects theirs onto the stage. The physical comedy is ramped up to match the witty script by Yasmina Reza, translated from French into English by Christopher Hampton, and they combine to make a fast-paced entertaining night out that also gives the audience something to think about.
- Bakkhai - NUTS, Kambri Cultural Centre: Playwright Anne Carson adapted this Greek tragedy from Euripides, claiming that it is his most subversive play, "telling the story of a man who cannot admit he would rather live in the skin of a woman, and a god who seems to combine all sexualities into a single ruinous demand for adoration." Director Kieran Knox has found plenty to exploit in the work, giving roles to a multitude of actors (some much better than others) in this student production. While it may miss many of the subtleties of civic duty and personal insecurity and identification, it succumbs to the trans and queer narrative that the cast and crew so clearly want to give it. Played in the round, the audience are up close and personal to way too much shrieking and the sombre moments risk being laughable, but the ensemble has a lot of fun with lots of anger, gore, shouting, violence, death, exile, filicide and madness - typical fun Greek tragedy. Moral of the story: don’t mock the gods; they’ve not got a great sense of humour or humility. Definitely worth watching if you like that sort of thing.
- Soul Trading - Canberra Youth Theatre, Courtyard Studio: Kate Walder has written an intriguing new work set in the future (2079) where every child has an educational robot to help them learn and their lives are strictly regulated in every department. Jerry (Ted Abraham) is slightly different from the other kids and his 3-D-printed robot, Elon (Orlando Dove), is even more so. Thematic elements of human interaction, environmental concerns and the morality of genetic selection add engaging layers to the witty production directed by Jena Prince. Production values of set, costume (Phoenix Mae), sound (Patrick Haesler) and lights (Antony Hateley) are extremely high and contribute to the atmosphere of the performance, which is both slick and charming. Although projection and diction from the cast is frequently questionable, the movement of the young actors which differentiate the sharp efficiency of the AI bots from their more languid and emotive human companions is highly commendable from this promising ensemble.
- The Velveteen Rabbit - Child Players ACT, Belconnen Community Theatre: This theatrical adaptation of a childhood classic is utterly adorable and perfectly pitched at the young audience. Simple and effective set, props and costumes are all innovative for the obviously limited budget. It is a good decision to have an adult actor (Janine O' Dwyer) play Nana - the older audience loved her long-suffering actions and eye rolls - and child actors for all the rest; the toys who come alive by emerging from the toy-box are clear and easy to understand. The blocking in a couple of scenes means that sight-lines are challenged and focus is lost, but on the whole it is well-delineated with separate spaces for action - inside/ outside - and the calendar marking the passage of time is inspired and beautifully illustrated. As the Velveteen Rabbit, Asha Ellis displays a delightfully mature approach for such a young performer with clear physical movements and facial expressions, great comedy timing, a sense of innocent wonder, and sympathetic interactions with the other characters. All the cast members get moments to highlight their abilities (the choreography of the real rabbits dance is charming), pleasing the family audience and the actors themselves. There is nothing too fancy or distracting, with nice moments of differentiation between the characters and explanation of the story, which makes for a wonderful first theatre outing.
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| Christopher Carroll, Craig Alexander and Shane Dundas in Art at The Street Theatre |
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| Lily Welling and Asha Ellis in The Velveteen Rabbit by Child Players ACT |
