I’m not kidding. In a world of perfectly manufactured entertainment, it becomes harder and harder to find art that’s truly a challenge. We don’t often see experimental theatre in the Sydney indie houses – these local black boxes tend to prefer scripted plays scaled down – but at the tiny traverse Kings Cross Theatre, tucked inside a boisterous pub, is an anti-capitalist laugh riot of a dadaist take on a Brechtian classic. Continue reading
‘In its 17 years the Revue has poked fun at local politicians and political scandals, with varying – and consistently decreasing – levels of incisiveness, but its 2016 outing was a particularly low point, too light a touch in a negative banner year for politics. In 2016, the Revue could have tackled voter apathy, institutionalised racism, and threatened international relations stemming from thoughtless gaffes. Instead, the 2016 Revue was soft and petty; it barely acknowledged current policy, let alone critique it. Its targets were small and its name – Back to Bite You – indicated a sharpness and anger that never appeared onstage.’ … READ MORE
In Nanette, a brilliant meta-comic retrospective meets arts-as-activism performance, Gadsby revisits punchlines she’s been delivering onstage for years, as a gut-punch farewell. I remember these jokes from shows past: her slow, deliberate phrasing deployed to get our biggest laughs. She reminds us of her mother’s response to Gadsby’s coming out (‘I don’t want to know. I don’t. I mean, what if I told you I was a murderer?’). That time she narrowly avoided assault for flirting with a girl (the girl’s boyfriend mistook her for a man, and apologised for his mistake).
But this time, she makes her audience pause to consider these stories. Are they jokes? Are they funny? Aren’t they horrific? READ MORE
“It’s hard to buy into the story when we don’t have a clear sense of who June and Leo really are as people, beyond contentious spouses. We know that vague past and present wrongdoings on either side are fuelling their guilt and stiff distance, but we don’t know what drives these people; why they chose each other; why they might choose to leave each other. Without truly knowing or caring about them from the outset, it’s difficult to care about their journey – and to perceive their evolution through the journey of the play” … READ MORE
‘[Didion] calls the mercurial act of memory and rearranging “more electrical than ethical” – and at the opening night of Belvoir and State Theatre Company South Australia’s brilliant Mr Burns, no reference seemed more appropriate.
Mr Burns is fittingly subtitled – A Post-Electric Play – but the comparison is closer than that; it’s a three-act play reckoning with the shape of the stories that make us human, give us faith, and create gods and monsters that we can comprehend and thus perhaps fight.’ … READ MORE
And my one paragraph about a poorly conceived scene led to angry phone calls!
“Pivoting between American and Chinese perspectives – and interjecting a British perspective, in the form of Tessa, a consumer research guru investigating the Chinese market on behalf of a credit card company – the play invites us to contemplate basic questions: what is the right side of history? What exactly is the good fight for human rights and human life? Who do we harm when we try to make a difference with our lives and work, and who is harmed by our inaction?” READ MORE
‘It’s no surprise that director Peter Evans, who is also Bell Shakespeare’s artistic director, has sensed parallels between Richard’s rise to power and the current global climate, and invited onstage an actor who can relate to the impact of disability on Richard’s life.
But in a Q&A located in the show’s program, he describes his new take as “completely about Trump”. This never rings true onstage. It’s a cohesive and confident production, nicely paced and well-performed. But Mulvany’s Richard is so singular and subtle (per Shakespeare’s frequent description of the man) that it doesn’t align with Trump’s highly public profile and bombast at all.’ … READ MORE
“Ross Mueller’s A Strategic Plan is every work nightmare you’ve ever had: part Ask a Manager, part Save the Community Centre/Hey Let’s Put on a Show section of TV Tropes, it’s particularly “triggering” for anyone who has worked in the not-for-profit sector.
Andrew (Justin Smith) is an ex-musician who once played bass for Powderfinger, but that was a long time ago. He’s the new Music Director and co-CEO of STACCATO, a non-profit music venue that offers workshops, capacity building and a place to play for young artists. At first, it’s a kind of hilarious culture clash as business jargon collides with Andrew’s real-world solutions and common sense. We grimace and laugh as STACCATO’s out of touch board chair (Matt Day) puts the kibosh on all Andrew’s innovations and suggestions, displaying his own lack of interest in music – the heart and soul of the business – in the process” … READ MORE
“An individual’s relationship to trauma and terror is complex, situational, and personal. BU21 attempts to delve into the aftermath of a terrorist attack on London from six points of view; all characters are members of a small support group for victims. Three men, three women, tea and biscuits – as one character jokes, it’s like a fucked-up version of Friends.
Ana (Jessica-Belle Keogh) has been burned to the point of paralysis and struggles with the scope of her injuries; Alex (Skyler Ellis) loses his girlfriend and best friend at the same time; Thalissa (Emily Havea) finds out through Twitter that her mother has died; Clive (Bardiya McKinnon) must face the unexpected death of his father, with whom he had a rocky relationship; Floss (Whitney Richards) saw a man die in front of her, after he fell from the sky into her backyard; and Graham (Jeremy Waters) starred as the media’s first eye-witness soundbite (think: this guy)”…. READ MORE
In August last year, The Australian ran a cartoon by Bill Leak that represented a sickeningly dominant cultural narrative about Indigenous fathers as drunk, neglectful, and dismissive.
There was public outcry after the cartoon was published, but Leak’s central conceit still made it into a national newspaper and was roundly defended by its creator and the publisher. Australia can be damningly, casually racist, particularly when its white population is allowed to speak – with authority – for other cultures.