Reviews

Seventeen

Matthew Whittet. University of Adelaide Theatre Guild. Little Theatre. Oct 12-26, 2019.

Matthew Whittet’s coming of age play reminds all of us of the end of our secondary education, when, on the brink of launching ourselves into adulthood, we may have celebrated that watershed moment with false bravado, perhaps too much alcohol and not a little fear and trepidation. Although we’d never voice it to our peers at the time, we deeply mourn the friendships that are about to scatter to the winds and perhaps secretly long to remain as we were, comfortably free of the looming responsibilities and future trials of grownup life. 

Cats

By Andrew Lloyd Webber, from the poems of T.S. Eliot. Platinum Entertainment. Directed by Katrina Patient and Trevor Patient. Mandurah Performing Arts Centre, WA. Oct 10-13, 2019

The popular Australian theatrical podcast ‘Musicals Taught Me Everything I Know’, asks its guests “If you could obliterate one musical from history, what would it be?” Among this musical theatre crowd, the most frequently chosen musical to be removed from the planet is Cats. Despite its dubious reputation, Platinum Entertainment’s Cats Mandurah season has had very healthy audiences, showing that among the general public, this remains a very beloved show.

Secret Bridesmaids’ Business

By Elizabeth Coleman. Roleystone Theatre. Directed by Michelle Ezzy. Roleystone Hall, Roleystone, WA. Oct 11-19, 2019

As Roleystone Theatre continue their residence at Roleystone Hall, while their beloved theatre is being rebuilt, they are experimenting with different configurations. Secret Bridesmaids’ Business is being presented with cabaret seating. This is perhaps especially appropriate for this production, as the seating style feels right for a wedding themed production. The show is being staged at the same time as the screening of the very different, but similarly named, TV series, so could prove an interesting comparison exercise for those interested in the tv show.

Bondi Legal

By Tony Laumberg. Bondi Theatre Company. Director: Richard Cotter. Bondi Pavilion Theatre. October 11 - 26, 2019.

An excellent production of a funny and clever play. Some people thought this was a local parody of the William Shatner TV show Boston Legal. There’s no Denny Crane here. The titles are similar but that’s where the similarity ends.

Grey Rock

Written & directed by Amir Nizar Zuabi. Remote Theatre Project. Melbourne International Arts Festival. Merlyn Theatre, The Coopers Malthouse. 9 – 12 October 2019

The ‘grey rock’ is the Moon.  In a West Bank, Palestine, villageYusuf (Khalifa Natour), a widowed and retired television repairman, is building a rocket to go there.  He’s already done time for being a troublemaker.  He keeps his project secret from his daughter Lila (Fidaa Zaidan) and definitely from Lila’s fiancé, play-it-safe Jawad (Alaa Shehada).  But he sees that he needs the help – if not the blessing – of the village imam, Sheik (Motaz Malhees).  Yusef is so intent – if not obsessed with – his plan, he is

Fully Sikh

By Sukhjit Kaur Khalsa. Barking Gecko and Black Swan. Directed by Matt Edgerton. Studio Underground, State Theatre Centre of Western Australia, Perth. Oct 10 - Nov 3, 2019

The World Premiere of Fully Sikh is a vibrant, clever celebration of Sikh and Punjabi culture, that is funny, warm and subtly informative. Proving very popular. this Barking Gecko and Black Swan Co-Production has already been extended, and deservedly so.

Hairspray Jr

Music: Marc Shaiman. Lyrics: Scott Wittman, Marc Shaiman. Book: Mark O’Donnell, Thomas Meehan. Adelaide Youth Theatre. Arts Theatre. October 10-12, 2019

I was lucky enough to attend the matinee performance of Adelaide Youth Theatre’s toe-tapping musical Hairspray JR. This was made extra special when I attended, as the company opened the doors for free to those with disabilities and their families. They capped the audience size, allowing for those with autism to have the space they needed to feel comfortable.

The Shadow Whose Prey the Hunter Becomes

By Back to Back Theatre ensemble. Directed by Bruce Gladwin. Melbourne International Arts Festival, Arts Centre Melbourne, Fairfax Studio. 9-20 October, 2019.

The five performers Michael Chan, Mark Deans, Simon Laherty, Sarah Mainwaring and Scott Price, each with their own unique disability, recreate a kind of public forum to discuss the ways in which their contribution to and visibility in society is suppressed. From the conversations which unfold, this suppression results in excruciating personal humiliation and even unabated physical and psychological exploitation.

My Best Dead Friend

By Anya Tate-Manning and Isobel MacKinnon. Zanetti Productions. Riverside Theatres Parramatta. October 11 & 12, 2019.

The stage is bare. The backdrop looks like a chalkboard – because it is! Attached to it are five small slates. One is blank. On the bottom of each of the others the names Ali, Dougal, Tessa and Emma are printed in thick white chalk. They are the characters in the story that Anya Tate-Manning is about to tell.

Much Ado About Nothing

By William Shakespeare. Bell Shakespeare. Directed by James Evans. The Playhouse, Canberra, 11–25 October 2019, and touring.

Much Ado About Nothing is the classic (and probably the first ever) romantic comedy, setting up two characters — the prince’s competent but increasingly nervous friend Benedick and the very sharp Beatrice, best friend of her cousin Hero — who are philosophically opposed though in fact they are both completely likeable, share a good deal of caustic wit, and observe life similarly.  Benedick’s friends — Claudio; Hero’s father, Leonato; and the prince, Don Pedro — and Hero’s closes

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