Reviews

Pygmalion

By George Bernard Shaw. Wanneroo Repertory. Directed by Jacob Turner. Limelight Theatre, Wanneroo, WA. Oct !2 - 21, 2017.

Wanneroo Repertory’s Pygmalion was a sumptuously presented production that was very warmly received by capacity audiences.

Jacob Turner made a promising directorial debut with this classic George Bernard Shaw play, with a production that looked great, with lovely multiple sets designed by Robert Usaraga, well designed lighting by Jacob Anderson, solid sound work from Daniel Toomath and Kim Elford and some notable costuming.

Impersonal Space

By Emily Steel. Tutti Arts / Company AT. Queen’s Theatre (SA). 19-28 October, 2017

Impersonal Space is a completely new work by South Australian playwright Emily Steel and is produced by Tutti Arts and Company AT (Autistic Theatre).

It is a triumph on numerous levels. Firstly, it exemplifies the powerful healing possibilities that are inherent in the theatre, for all participants, audience and actors. In this case all the actors are those with a particular autism – and they are all marvelous.

The Red Tree

By Hilary Bell, based on the book by Shaun Tan. Music by Greta Gertler-Gold. National Theatre of Parramatta. Lennox Theatre, Riverside Theatres. October 19 – 28, 2017.

The National Theatre of Parramatta brings another new piece of homegrown theatre to the Riverside – and Australian – stage. Based on the book by artist Shaun Tan, The Red Tree has an appeal that is insightful and universal.

Chess

Lyrics by Tim Rice. Music by Benny Andersson and Bjorn Ulvaeus. Old Scotch Music and Drama Club. Director: Alan Burrows. Choreographer: Di Crough. Musical Director: Martine Wengrow. October 19 – 28, 2017

Chess the musical is not unlike the game it depicts - deceptively and demandingly complex. The music is difficult, the movement requires focused and adroit choreography and its performers need both the acting and vocal chops to do its tension fuelled scenes and songs justice. A lot can go wrong in this production,and it can be hard to find the people needed to get it right. OSMaD found them, and have presented what is a powerful and consistently interesting production of a very challenging piece.

Chicago

Music by John Kander. Lyrics by Fred Ebb. Book by Fred Ebb and Bob Fosse. Gosford Musical Society. Directed by Toni Williams. Musical Direction: Chris Hochkins. Choreography: Karen Snook. Costumes: Jamie McKenzie. Set Design: Simon Castle. Laycock Street Theatre. October 20-November 11, 2017

It's impossible to start this review off in any kind of 'neutral' perspective, given that, the first community theatre production of any kind this reviewer had ever seen, was opening night of GMS' Chicago in 2002. Aspects of the experience that struck me most were the over-flowingly loving vibe emanating from the audience; how high the production values were in regard to costumes, lighting and set design; and the marvellous diversity of the cast – in appearance and professional abilities.

A Festival of Russian Ballet

The Imperial Russian Ballet. Concert Hall, QPAC. 19-20 October 2017

Australian audiences have had a love affair with Russian dance companies ever since Michael Edgley and Andrew Guild began touring them to Australia in the 1960’s. It’s this love of Russian dance that permeates the whole performance of the Festival of Imperial Russian Ballet, a pop-pourri of popular pieces from the classical repertoire.

Germinal

Conception and Direction by Halory Goerger and Antoine Defoort. Melbourne Festival. Malthouse Theatre. 19 – 22 October, 2017

Germinal is marvelous festival fare – an exceptional experience.  It is just the sort of show that stretches expectations and delivers the completely unpredicted in a totally unique way.  One gasps and laughs with surprise whilst being charmed by the whimsical nonsensicality of the experience.  And yet all the time the reasoning of the whole seems to be based on the perfectly rational.

We Love Arabs

Written & performed by Hillel Kogan with Adi Boutrous. Batsheva Dance Company of Israel. Melbourne Festival. The Coopers Malthouse Beckett Theatre. 18 – 22 October 2017

We Love Arabs is a dance-comedy-drama show; it is simple in concept but rich in metaphor, allegory and irony.  It is beautifully, straight-facedly executed satire and – beneath its wit and its piss-take on the pretensions of ‘contemporary dance, a bitingly serious piece.  It is – ostensibly and actually - about those awkward neighbours, the Israelis and the Palestinians.

The Melbourne Monologues

Melbourne Writers’ Theatre. La Mama Courthouse, 17 – 22 October, 2017

Melbourne Writers’ Theatre continues to impress with another engaging series of monologues, The Melbourne Monologues. Like The St Kilda Stories it is also a series of six short stories that are directed with care and sensitivity by Elizabeth Walley.

The Kitchen Sink

By Tom Wells. Ensemble Theatre, Sydney. Director: Shane Bosher. 14 October – 18 November 2017

The most important things to get right are the place and the time. The Kitchen Sink is set in the fading seaside village of Withernsea, East Yorkshire, a few years ago as Martin’s milk delivery float, a risky rival to Tesco, is rapidly running out of business. Director Shane Bosher, with no assistance from the Ensemble’s program, completely nails it.

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