Reviews

On the opening night of Beirut Adrenaline, a play about the Lebanon war in the 1980s, a speaker from the Australian Lebanese Historical Society gave an introductory talk. She spoke about the play’s resonance for Lebanese Australians, many of whom migrated here during this civil war. Her speech immediately put the play in an Australian context and highlighted the direct links with our lives today. The potential is clear.

The plot may be simple – three sisters pine to return to Moscow, but they don’t.  So while they journey to nowhere, there are plenty of rewarding stops in this mighty new production from Sport For Jove.  

Mighty is the cast size of 20, and so too is the running time of three and a half hours, in this direct translation (Karen Vickery) true to Chekhov’s original.  Georgia Hopkins also fills her wide stage with all the details of Chekhov’s world of provincial Russia circa 1900, while Emma Vime does the same with fine period costumes.

This presentation was conceived as a theatrical tribute to the music of David Bowie. The musical excellence of the band, Robot Child, anchored the more than 2 hour long performance. The characteristic soaring, insistent riffs were very competently delivered.  Two singers, Kendall-Jane Rundle and Jeff Wortman sang the majority of the songs. David Bowie’s voice was distinctive with a 3.5 octave range. Singing his songs presents a challenge.

This is a show that questions the nature of ‘justice’ and the responsibility of a society (us never-been-arrested-never-been-charged folks) that leaves it up to the ‘justice system’ to administer it – not so well.  There are eight performers – Nick Apostilidis, Arthur Bolkas, Ty Luke, Nick Maltzahn, John Tjepkema, J R Brennan, Ashley Dyer and David Woods.  Some of them are ex-crims, big blokes who look like they’ve been around the block, but one wears a dog collar and is covered in tattoos, while another wears floral trousers and long stri