Reviews

The Prisoner of Second Avenue

By Neil Simon. Galleon Theatre Group, Adelaide. Domain Theatre, Marion Cultural Centre. October 24 – November 2, 2019

Mel Edison is a middle-aged, middle-class advertising account executive and he is having a very bad time. His employer is on the verge of bankruptcy. His 14th floor apartment is cracking and he can’t sleep because the air conditioning is faulty. Through the paper thin walls he can hear his neighbours' romantic encounters and he can’t open the windows without being overwhelmed by the noise and smell of downtown Manhattan.

Lobby Hero

By Kenneth Lonergan. Around the Moon Productions. Fortyfivedownstairs, Flinders Lane, Melbourne. 22 – 27 October 2019

It all happens with just four characters, across two nights in the lobby of a mid-level, rather shabby Manhattan apartment building and on the street just outside. 

Il Viaggio a Reims

By Rossini. Opera Australia. Joan Sutherland Theatre, Sydney Opera House. October 24 – November 2, 2019

Composed by Rossini in 1825 to celebrate the coronation of King Charles X of France, Il Viaggio a Reims (The Journey to Reims), contains some of Rossini’s most impressive music. Though the plot is simple, the music is difficult and challenging for the orchestra and the cast of ten soloists and eight smaller roles. Yet after four performances, Rossini pulled the score apart and the manuscript was lost until various pieces of it were reconstructed by American musicologists Philip Gossett and Janet Johnson in 1983.

Coming Through

Irina Kuzminsky. The Butterfly Club, Melbourne. October 21 – 26, 2019

Coming Through is a new show from Irina Kuzminsky (aka Irinunshka) that takes us on a mystical feminist journey into a multi- disciplinary art performance, combining dance, song, and poetry.

The show is divided into three sections that ruminate on grief, death and rebirth.  Her dance performance is the central force and provides an esoteric exploration of female empowerment within the traditions of classical ballet, contemporary dance and yoga movements.

Baby Doll

By Tennessee Williams, adapted for the stage by Pierre Laville and Emily Mann. Ensemble Theatre, Sydney. Oct 18 – Nov 16, 2019

To promote his 1956 film of Tennessee Williams’ Baby Doll, director Elia Karzan ordered what was the largest billboard in the world.  The massive image of a pouting, nubile teenager thumb-sucking in her crib caused a scandal; audiences flocked but the critical response was muted. 

Pierre Laville and Emily Mann recently adapted Baby Doll for the stage, returning us to that Mississippi hothouse where the loutish Archie Lee waits impatiently to bed his new wife but, as promised to her late father, only when she turns 20.  

What The Day Owes To The Night

OzAsia Festival. Dunstan Playhouse, Adelaide. October 22-23, 2019

What the Day Owes to the Night is quite simply a triumph!

Inspired by the revelation of French choreographer Herve Koubi that his ancestry is ethnic Algerian and not French as he believed, What the Day Owes to the Night utilises a bare stage and 13 men from Algeria, Morocco, France (whose first name is Giovanni), Italy and Israel.

They are bare chested and wear long white pants with a layered skirt over the top. These skirts swirl in white circles and can provide safe surfaces on which other performers can lay down, or to mop up perspiration.

Mansion

Written, directed & produced by Bass G Fam. Labassa Mansion, 2 Manor Grove, Caulfield North. 17 October - 3 November 2019.

As the publicity suggests this is not for the faint of heart. The horrific elements of this show may initially appear to be innocuous or even amusing, however, chills running down your spine are guaranteed by the end of the show.

Savannah Bay

By Marguerite Duras. Directed by Laurence Strangio. La Mama Courthouse, Carlton. 17 – 27 October 2019

Savannah Bay is another foray by director Lawrence Strangio into the elusive, ambiguous world of Marguerite Duras – a foray begun in 1994 with his initial production of Duras’ L’amante anglaise, but his on-going productions suggest a life-long affinity with Mme Duras.  She wrote the role of ‘Madeleine’ in Savannah Bay – so Mr Strangio tells us in his program note – for the great French actress Madeleine Renaud, then eighty-eight years old.  Here, Madeleine is played with poignant but deliberate evasions and enigm

Natives Go Wild

Conceived and written by Rhoda Roberts. Studio, Sydney Opera House. October 19 – 27, 2019

Natives Go Wild is a First Nations cabaret circus about the ugly days when Aboriginal and Pacific Islanders were virtually kidnapped to be freaks in the circus. PT Barnum, recently celebrated in the movie The Great Showman, is the main colonial villain.

Developed by Rhoda Roberts for an all too short season, it’s a tantalising mix of sad vignettes about lost performers, circus skills, great songs and high camp, acerbic commentary. 

Broadway Rescue

Written and directed by Justin Rynne and Rebecca Spicer. Bondi Theatre Company. Musical Director: Shirley Politzer OAM. Bondi Pavilion Theatre. Queen Elizabeth Drive, Bondi Beach, Sydney. 20 and 26 October, 2019

From the opening announcement, you know this is going to be a fun show, and you’re not wrong!

The world premiere of Broadway Rescue forms part of Bondi Theatre Company’s season of comedy, cabaret and children’s theatre.  And a very enjoyable part it is too.

The story is loosely based on Bondi Rescue, the phenomenon that is Bondi Beach, and Broadway. You don’t need to be familiar with Bondi Rescue to enjoy the show.  The story is basically an excuse to have some exceptional comedy and wonderful songs.

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