Reviews

The Hypotheticals

Writers and performers: Jeffrey Jay Fowler and Sarah Reuben. Presented by Brown’s Mart and Darwin Festival in association with The Last Great Hunt. Choreographer: Jessica Devereux. Dramaturg: Chris Isaacs. Sound designers: James Mangohig and Serina Pech. Lighting designer: Tomm Lydiard. Happy Yess, Darwin. Until 19 August 2021.

Performing their 2020 NT Literary Award-winning script The Hypotheticals, Sarah Reuben (‘The Woman’) and Jeffrey Jay Fowler (‘The Man’) positively sparkle as best friends navigating the idea of having a child together. They are hard-working young professionals – she is a Nurse, and he is a Graphic Designer. She is straight and single, and he is gay and single. They share date nights and what turn out to be hilarious power-walking exercise sessions.

Grease

Book, Music & Lyrics: Jim Jacobs & Warren Casey. Griffith University Performing Arts Students. Director: Alister Smith. Musical Director: Heidi Loveland. Choreography: Dan Venz. Conservatorium, South Bank, Qld. 12-18 August 2021

Opening one week later than originally scheduled (because of Covid lockdown), this year’s major production of the Griffith Performing Arts students, Grease, was one of their best.

With a towering four-level scaffolding-type set with multiple staircases by Adam Gardnir, a plethora of late fifties dance-moves by Dan Venz, and a kick-ass band under Heidi Loveland, Rydell High buzzed with life and energy.

TenORus

Adam Bartlett and Roger Davy. Helensvale Cultural Centre - 13th August and 24th September, 2021. Wynnum Fringe Festival - Nov 9th.

The marvellous thing about Australian performers is that they refuse to be beaten. If the theatres are closed and there’s no work, well then - create your own.

Confetti From Graceland

Written and directed by Noel O’Neil. Harbour Theatre and Maverick Theatre. Camelot Theatre, Mosman Park, WA. Aug 13-28, 2021

Confetti From Graceland had its World Premiere in May 2008, a co-production of The Studio and KADS. This latest production, a co-production of Harbour Theatre and Maverick Theatre, features the same director and three of the original cast, and has the charm and brashness of the original. I was shocked to realise that the last time that I saw this play was 13 years ago - as my memories of this play are so vivid - a testament to its strength.

Savage Grace

By Alana Valentine. Steamworks Arts. Directed by Sally Richardson. Rehearsal Room 1, State Theatre Centre of WA. August 11-14, 2021

2021 marks 21 years of Steamworks Arts and to celebrate they are remounting their first production, Alana Valentine’s Savage Grace, with the original director and original cast.

First produced in 2001 at the Blue Room Theatre, Savage Grace is a story of love, death and ethics, featuring a relationship between a visiting American doctor and a hospital ethics professor. A clash of personalities and ethics precedes a passionate affair, against the background of the AIDS crisis. 

Seasons of Skin and Bark

Tracks Dance Company. Concept and Artistic Directors: Tim Newth and David McMicken. Choreographers: David McMicken, Jessica Devereux, Kate Mornane and Kelly Beneforti (creative development). Designer: Tim Newth. Musical Director: James Mangohig. Musical Collaborator: Lena Kellie. Lighting Designer: Chris Kluge. Costumes: Cj Fraser-Bell. Performed by Anokai Susi, Bintang Daly, Brinda Magar, Bryn Wackett, Eleanor Rushforth, Ellen Hankin, Jenelle Saunders, Kate Mornane, Lucy Found, Maari Gray, Omaya Padmaperuma, Perrin Orlandini, Piper Mules, Ruttiya McElroy, Sarah Lacy, Sheila Rose, Sophia Hodges, Stephanie Spillett, Stephanie Thompson, Tara Schmidt, Teresa Helm and Venaska Cheliah. Darwin Festival. George Brown Darwin Botanic Gardens, Darwin. 8–16 August 2021.

When Cyclone Tracy made landfall directly onto Darwin at 3.30am on 25 December 1974, it would not be until between 6.30am and 8.30am on Christmas Day, that the winds and rainfall would begin to ease. In the city’s Botanic Gardens, an uprooted ‘cyclone-resistant and waterwise’ Albizia saman (South American Rain Tree) was one of only 10% of the gardens’ inhabitants to survive the devastation.

The Canterville Ghost

A Lux Radio Play based on the story by Oscar Wilde. Directed by Phil Carney. New Farm Nash Theatre. August 13 – 21, 2021.

The radio play was the home entertainment norm in the days before television and here it is presented in that same manner but with the audience watching the “broadcast” while listening at the same time.  An interesting experience.  Actually, the initial short story was published in 1887 and has been adapted to both radio and film over the years since. This version is somewhat updated from the original but the effects are much the same. It is the fear of the unknown that frightens us more than anything else does - in this case, a three hundred year old ghost.

Emilie La Marquise Du Châtelet Defends Her Life Tonight

By Lauren Gunderson. Anatomical Heart Productions. Directed by Michelle Ezzy. The Studio, Subiaco Arts Centre, WA. Aug 11-14, 2021

Emilie La Marquise Du Châtelet Defends Her Life Tonight, the debut production of Anatomical Heart Productions, is a fascinating story about a brilliant woman, overlooked by history. Beautifully presented, this cleverly constructed story is well directed and told with intelligence and style.

Blithe Spirit

By Noël Coward. University of Adelaide Theatre Guild. Little Theatre, University of Adelaide, August 11 -21, 2021

Blithe Spirit is one of Noël Coward’s iconic plays, along with Private Lives, Present Laughter and Hay Fever. First seen in the West End in 1941, it created a new long-run record for non-musical British plays and also did well on Broadway later that year.

This year marks its 80th anniversary, following a new film adaption in 2020 starring Judi Dench as the inimitable Madame Arcarti (first played on stage by Margaret Rutherford).

King Lear (Online)

By William Shakespeare. Melbourne Shakespeare Company. Directed by Ayesha Gibson. fortyfivedownstairs. Watch at Home: 4 – 18 August, 2021.

There has been a determination to see this performance come to fruition despite the continual last-minute changes to scheduling due to COVID. As a result, this formidable performance of Lear is available to view online. While the recording could be more imaginative and technically proficient, the numerous strong points of the production are perfectly captured. Evelyn Krape as King Lear is magisterial. Her rendition of his sense of absolute power has a blatant stubbornness which is infused with arrogance.

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