Thursday, 30 December 2004

The Wind in The Willows, Dec 30, 2004

The Wind in The Willows 
adapted from Kenneth Grahame 
The Australian Shakespeare Company
Botanical Gardens, Melbourne Gate F, Dec 2004 to January 31, 2005
Reviewer: Kate Herbert

Each summer, The Wind in the Willows is invariably a popular family show.

The script may be the same each year but each group of actors brings a new face to the show and introduces topical gags that appeal to all ages.

Adults and kids are all labelled 'Rabbits" and then the fun begins.

Our MC, The Head Chief Rabbit, is Rosco Mathers who has cheeky repartee and a comfortable manner with the littlies.

His nemesis is Weasel  played with plenty of snivelling and twitching by Robert Jackson. They make a wonderful double act both comically and musically.

Mathers plays trombone and accordion and Jackson backs all of the songs on either clarinet or electric guitar.

We are invited on a journey to meet the legendary and very pompous Mr Toad. Played with blustering vanity by Trent Baker (OK) The audience is kept alert with three location moves and a parade of new and even more daft characters.

At first we meet the retiring Mole  (Perri O'Connor OK) who is obsessed with cleaning and wants to go on an adventure.

At the River, (played beautifully by the Lake) we have a treat in store. Jolly old Ratty,  (Ezra Bix OK) appears in his rowing boat and offers us all a picnic.

Bix has the style of the show down pat, employing delightful physical detail in his role as the very social and leisurely water rat.

Next we find wise old Badger asleep on a bench. Alan King  plays him with a booming voice like a fusty old Brit.

Otter is portrayed by James Stafford, another fine singer who doubles as a Copper and the Judge who puts Toad in jail.

The entire show is peppered with audience participation  and cheerful songs.

The songs  range from the opening "Waggle your ears, wiggle your nose" to Badger's  song about Toad's exploits and Toad's own self-serving song called "The Famous Mr. Toad."

Some cast changes in this season improve the characterisation and the new ensemble peps up the pace.

The banter between the actors is always a hoot for adults and the cast captivate the children with the dilemma of Toad hall being invaded by rascally Weasels.

The characters are smug and charming and very, very English. But who cares? It's great entertainment.

By Kate Herbert

Thursday, 16 December 2004

Box Set, Rawcus, Dec 16, 2004

Box Set  by Rawcus    
Theatreworks  16 & 17 December, 2004 only 
Reviewer: Kate Herbert on Dec 16, 2004

Box Set is a delightful collection of solo and duo pieces devised by Rawcus with seven guest directors.

Rawcus is an ensemble of actors with and without disabilities.

In the Box Set project, each member had the opportunity, over nine rehearsals, to pursue areas of their own interest, to explore different performance styles and to develop an intimate performance in a creative process. 

Each piece is a gem in its own way.

Royal Command Performance (director: Chris Kohn) is an absurdist piece featuring Raymond Drew and Dan Tobias.  One is a disembodied head sitting on a silver platter on a dining table arguing about the Queen and singing with his pal, the ukelele player.

Steve Ajzenburg and Kellyann Bentley perform Wonder Thing, (director: Mandy Pickett) a poignant and gentle movement piece based on Steve's story about his right arm which was disabled in a car accident.

Louie Riisik  (director: David Wells) relishes playing The Angry Old Woman who slopes around in her dressing gown and rollers, drinks too much, hates Christmas and rants about her son.

Three recorded songs create the foundation for Let's Dance, another movement piece (director: Ingrid Voodendt ) by Clem Baade and Nilgun Guven.  One effective element is the design composed totally of red helium balloons floating around them

Il Maestro Tonso ( director: Nick Papas) is an hilarious clown routine by John Tonso who parodies a smug musical soloist preparing to play Mozart on the trombone. His antics with a music stand, mobile phone and the trombone are very funny.

The master -servant relationship with Papas as Tonso's assistant is a highlight.

Twisted Sisters, the final piece, (director: Clare Bartholomew) features Rachel Edward and Kerryn Pe in a silent clown piece with a dark comic edge. One sister ( Edward) continues to attempt to kill her sister ( Pe) with poisoning, stabbing, strangling and finally, pushing her under a train.

The story is simple and very funny and the performances of Pe and Edward are a delight.

The collection of seven short works ranges in style from movement to clown , monologue and absurdism.

Rawcus created this charming show over nine Saturdays. Box Set is a tribute to the ensemble and the seven guest directors. It deserves  a longer season.

LOOK FOR: Il Maestro Tonso and the Twisted Sisters.

By Kate Herbert

Wednesday, 15 December 2004

The Best and Worst Theatre of 2004, Dec 2004

 The Best and Worst of 2004  
Reviewer: Kate Herbert, Dec 15, 2004
 Published in Herald Sun, Dec 2004

This year may have seen no exceptional, once-in-a-lifetime nights at the theatre but there were a number of fine pieces of work. Unfortunately, as always, there were a few screamers dotted amongst the goodies.

One name kept coming up in the 'best' column for both small and large companies: Tom Wright.  With director, Nick Harrington, Wright is responsible for two extraordinary, moving and grim plays at La Mama, both dealing with prisoners on Death Row in America.

This Is A True Story  featured Wright as a hapless, confused, uneducated man awaiting the Death Chamber in Mississippi.  It is a true story, which made the experience more eerie and mesmerising as Wright, in the dim, cavernous space, tells his desperate tale.

Wright and Harrington receive a second accolade for the companion piece, Lorelei,  another true story. Anna Galvin  was luminous as Lorilei, a woman with a big heart who is trying to save from Death Row the paedophile (Wright) who murdered her son.

Wright receives more high praise for sheer audacity and good fun for Babes in the Wood,  (Playbox, OK) a political, absurd, rollicking good night out.

The Melbourne Theatre Company had several winners. Frozen  was another chilling story of a paedophile with compelling acting from Helen Morse,  Frank Gallacher  and Belinda McClory.  

Matt Cameron's  Ruby Moon  (Playbox) was another challenging play about a missing child.

Blue Room  (MTC) wins the sexiest play award for Marcus Graham's  impeccable performance while The Visit  (MTC) boasted the cream of Melbourne's older acting fraternity.

Bell Shakespeare  scored highly with its new Hamlet  while Love, Valour and Compassion  was an hilarious, sometimes poignant play about seven gay men. (Midsumma Festival OK)

Several individual performances merit a mention. Canadian actress, Marie Brassard  gave a consummate performance in the solo show, Jimmy,.  Jonathan Hardy  was hilarious and moving in Ron Elisha's A Tree Falling.  In Two,  another Elisha play, Bruce Kerr  and Anastasia Malinoff  created a rivetting relationship.

Kenneth Ransom  was captivating as a genuinely likeable and charming serial killer on Death Row in Jesus Hopped The 'A' Train.  (Red Stitch OK)

Jean Paul Hussey  was a human dynamo on stage in his solo work, Chocolate Monkey.

Another La Mama production, Below,  deserved far more attention than it received. It was a gripping, gritty and often funny tale with superb acting, writing and direction.

There were fewer clangers this year. The musical, Cabaret,  was not all we hoped it to be and Lisa McCune  was not up to the lead role.

There are those who disagree with my assessment of the script of Falling Petals (Ben Ellis - Playbox) It is a play that won awards but it is poorly constructed and inconsistent. The director and actors did their best to make it work but audiences were disappointed.

One Night in the Well,  at The Courthouse, was a messy trio of short pieces. The music and video designs were effective but the disparate elements were not sufficiently well integrated.

Snow White and the Seven Dwarves,  a theatrical dinosaur by Dance Encore Productions,  New Zealand,  took the award for outdated writing, choreography and jokes. However, the little kids participated cheerfully and were more tolerant than my two companions who left apologetically in a hurry at interval.

The War Against Short Trousers  was thin and dated political satire with predictable jokes peppered with the odd clever satirical moment. It was redeemed by a couple of good performances.

Another fringe show, Sideways,  about two low-level drug dealers. suffered from too much talk and too little space for silent stage action or comedy.

Given the news headlines these days, the fact that Death Row, paedophiles and serial killers featured this year is not surprising but it is disturbing. Strangely, they made some of the most gripping nights in the theatre.

By Kate Herbert

Monday, 13 December 2004

Kate's Theatre Wrap up for 2004, Melbourne, Dec 13, 2004

Theatre Wrap up 2004
Reviewer: Kate Herbert

2004 was not a feast of fine theatre but there were some treats on the table.

One hit was John Bell's Servant of Two Masters, with the consummate clown, Darren Gilshennan as Arlequino. Virtuoso, Justus Neumann, performed The Last Days of Mankind, peopling the tiny La Mama with dozens of characters.

Brian Friel's compelling Afterplay was a perfect vehicle for the exceptional Lewis Fiander and Lyndel Rowe and The Cherry Orchard was a charming surprise at fortyfivedownstairs.

Twelve Angry Men featured a skilful cast in a marvellous play while Mel Brooks' The Producers was definitely the most fun.

Although there were few good female mainstage lead roles, we enjoyed feisty Caroline O'Connor (Bombshells), a pert Christen O'Leary (Urinetown) and Nicki Wendt. (Memory of Water)

On the Fringe, Lyndel Rowe was deliciously underplayed as the ageing Chekhovian Sonya, in Afterplay, and Jenny Lovell was rivetting in Iron. (Red Stitch) The women in A Moment on the Lips deserve a mention.

Commendable male actors include Richard Piper (Daylight Atheist), Ben Mendelson  (Glass Menagerie) and Lewis Fiander. (Afterplay

From overseas, Talking Heads boasted superlative acting (Maggie Smith, Margaret Tyzack) and an impeccable script. (Alan Bennett) Ronnie Burkett's Provenance was magical puppetry and Ideas Men (Ridiculusmus) was sheer comic madness.

The year's biggest howler was David Williamson's Amigos with Anthony Crowley's The Frail Man a close second. Bell Shakespeare's Twelfth Night reduced the dark comedy to Benny Hill.  Some fringe shows felt like North Korean torture. (All's Well That Ends Well, Re-Stumping Suburbia, Goodnight Desdemona)

The most over-rated overseas show was XXX (La Fura Dels Baus) while The Buskers' Opera (Robert Le Page) and Vanishing Point (Philip Genty) were disappointing.

Kate's three top shows for 2004
Servant of Two Masters by Bell Shakespeare (Playhouse)
Afterplay by Stable Productions  (fortyfivedownstairs)
The Last Days of Mankind by Justus Newmann (La Mama)

Wednesday, 8 December 2004

Machiavelli, Machiavelli by John Upton, Dec 9, 2004

 Machiavelli, Machiavelli  by John Upton
La Mama, from Dec 9, 2004

Reviewer: Kate Herbert

Machiavelli, Machiavelli, by John Upton, seems to be running on a path to a tragic ending for its solo character, Leah Hunt. (Libby Stone) Happily, the pessimism turns to a more cheering and optimistic ending for the protagonist.

In fact, Lean Hunt could be called an antagonist. She is certainly a provocative and gladiatorial character, an almost copybook local government Labour Party politician. She lost her local government election on a controversial platform of de-sexing stray cats.

On the way to tis up beat ending, Upton's play, rather confusingly, has several unintentional false endings where Leah looks about to give up the fight to survive.

It is a tall order to hold an audience alone on stage and Libby Stone looks a little uncomfortable in this production directed by David Myles.

 It is particularly noticeable in the scenes that involve flashbacks or the character talking to a second invisible character.

In some of these scenes reminiscing about a long past lover, a voice over by Leah as a younger woman or representing her thoughts is an awkward stage convention that leaves the actor looking like a shag on a rock. Some clumsy lighting changes do not help.

Leah is the outgoing Mayor and she is not happy about her election loss. She held the mayoral position for thirty years until this day and her entire world and identity are crashing around her. Even the cab drivers are no longer respectful. She drinks whisky, and babbles to her goldfish and her bird called Mr. Town Clerk.

We see her almost imprisoned in her cramped and untidy little living room, changing from dressing gown to street clothes.

She desperately seeks some acceptance of her change in status, attempts to understand the election loss and tries to find meaningful work in a fickle political world that seems to have abandoned her immediately.

Although stone works hard throughout, there is little light and shade in her performance of this evidently volatile and voluble local identity. What we crave is some heightened emotion, some compelling passion and despair to meet Leah's sense of loss.
 Upton has a strong sense of the petty bickerings and napoleon complexes of local government officials. His dialogue however, is not rivetting and the production lacks dramatic tension.

The play moves in fits and starts but thankfully finds its positive ending.

By Kate Herbert

Friday, 3 December 2004

True Adventures of A Lost at Sea by Kit Lazaroo, Dec 3, 2004

True Adventures of A Lost at Sea by Kit Lazaroo
Here Theatre
Trades Hall, Old Council Chambers,  December 3 to 19, 2004
Reviewer: Kate Herbert

The genre of Kit Lazaroo's True Adventures of a Lost Soul has a tang of magic realism. It is lyrical in its language, isolated in its location and mysterious, although not mystical, in its narrative.

These elements contribute to both the successes and failings of the play.

A young girl, Ollie Fletcher, (Hanusin) believed drowned, washes up on the shores of her home, a mythical coastal town in 1852. She is found by Constable Dougal Morris (Amor) and cared for by him and his wife, Dido. (Zemiro)

Her father disappeared in the same boating accident but initially, Ollie has no memory of that day nor of where she was for forty-two days.

What unfolds is a peculiar fairy tale like story; her unbelievable emerging memories of being taken and cared for by an underwater creature.

What follows is a series of mythical events, odd characters. Her story is doubted, then evidently proved and finally shattered by scientific evidence.

The production has strong performances from all four actors (Julia Zemiro, Lliam Amor, David Adamson, Fanny Hanusin OK) in a very broad, sometimes comical style.

Zemiro plays the brusque, ambitious and unloving Dido, with flair and humour. Amor has terrific comic timing and is aptly bemused and warm as her long-suffering husband.

Adamson is amusing as the eccentric and disaffected doctor Rufus Plank and Hanusin, although awkward with the dialogue at times, is peculiarly interesting as Ollie.

Oddly, we have no sympathy for anyone except perhaps the kindly Constable Dougal.

We witness actors both on state as characters and off stage perched on a bench observing the action.

Director, Jane Woollard, has the actors create an evocative live soundscape with vocal sound effects, the air pump of piano accordions and scrubbing brushes on Amanda Johnson's wonderfully assymetrical wooden table.

Intermittent onomatopoeic language echoes ocean and wind.

The rhythm of the play is fractured and the very domestic and the mystical scenes need to be dovetailed together more convincingly. The genre seems muddled.

The story is a fanciful and light myth but it lacks any real resonance. We wait for the tale to reflect our world. Perhaps it does in its shattering of people's dreams and the manipulation of the weak.

LOOK FOR:  Live soundscape.

By Kate Herbert

Wednesday, 1 December 2004

Descent Five: Mata Galup by Robert Reid, Dec 1, 2004

 Descent Five: Mata Galup 
by Robert Reid  Theatre in Decay
Where and When: Theatreworks, December 1 to 12, 2004
Reviewer: Kate Herbert on December 1

The title of Theatre in Decay's new production, Mata Galup, translates from Indonesian to, 'the darkening of the eye'.

It suggests revenge, and makes it an apt epithet for Robert Reid's play depicting a view of the global aftermath of September 11.

The play is part docu-drama and part domestic soap opera. It is the news documentary components that are most successful.

Reid present in radio news style, a series of voice overs with facts from the past three years since September 11.

There are some captivating images in this production, directed by the writer. Members of the large cast o extras appears as a team of scientists, wrestling with an enormous replica of the Doomsday Clock that looks like the face of Big Ben.

They stand silently holding lit candles in a vigil for victims of September and they are a crowd of dancers falling to the floor dead in the Bali bombing. They enter in stark white chemical hazard gear to combat the anthrax scare.

There are some striking puppets including a small figure waking in its bed on the morning of the Twin Towers strike. There is a giant George Bush head spouting garbled rhetoric and giant metallic war birds. A solo martial artist flails a sword in a magnificent dance.

The problem is that most of these images are so fleeting that their dramatic impact is wasted. There is great potential for powerful political commentary using solely the imagery and movement. These images end up being fleeting or superficial and comical.

To give these images more weight and time world provide a more compelling visual story than the shallow domestic drama of Micky (Elliot Summers) and Elishaba (Miranda Nation).

The death of the pair's dysfunctional relationship runs parallel to the global story of terrorism and mounting fear. Micky works away from home on train engines or on oil rigs. Elishaba whines about his absence and works in a café until she falls pregnant.

A micro domestic story could act as counterpoint to the macro political drama but this one does not amplify the global situation in any significant way. The whole play lacks a cohesive through line and a dramatic arc. The dialogue is thin and the acting of the two leads is unimpressive.

Mata Galup is a great idea with some smart images but it lacks a clear vision.

By Kate Herbert 

Monday, 22 November 2004

Loyal Women by Gary Mitchell, Red Stitch, Oct 22, 2004

Loyal Women by Gary Mitchell
Red Stitch Actors Theatre
Rear 2 Chapel St. St. Kilda, Oct 22 to November 14, 2004
Reviewer: Kate Herbert on Oct 22

The undercurrent of violence is palpable in Loyal Women by Irish playwright, Gary Mitchell.   

The play is a voyeuristic peek into the lives of women in the Ulster Defence Association, (UDA) the Irish Protestant paramilitary organisation responsible for many Catholic deaths since 1971.

Denny Lawrence's production explores this violence to some degree.  However, the style remains a little too actorly and middle class to capture truthfully the raw passion of these loyalist women of Northern Ireland.

Mitchell's script is grim, contemporary realism and Lawrence stages it in a naturalistic style. The tiny Red Stitch space is converted into a scruffy Ulster living room with a view into granny's room.

Brenda (Verity Charlton) lives with her hapless teenage daughter, Jenny, (Ella Caldwell) Jenny's crying baby and Brenda's demented mother-in-law, Rita. (Carole Yelland)

Brenda's wily, deceitful and cowardly husband, Terry, (David Whiteley) is back after sixteen years in jail for the murder of an IRA woman.

Brenda's living room is used for impromptu meetings of the local Women's branch of the UDA. This rabble includes their mature leader, Maureen, (Christine Keogh) the unpredictable, insidious Gail, (Kate Cole) and the volatile and stupid Heather. (Kat Stewart)

These women are dangerous, some desperate and all are violent and profoundly bigoted.

It is a mystery that the group is so deferential to Brenda who is obviously not interested in fighting. Brenda's history is cloudy and her husband's role in the murder he was convicted of is even murkier.

Terry tries to inveigle his way back into Brenda's life by any means. He threatens her boyfriend, Mark, (Brett Cousins) sleeps on her couch, steals her savings and enlists the support of Jenny and his mother, Rita.

Charlton gives Brenda some credibility but is not always convincing. Cole seems to soft as the violent Gail but this might be because the fight choreography is unconvincing. Stewart transforms into the rough and idiotic Heather.

Whitely makes the cowardly Terry appropriately dislikeable. Cousins, plays Mark as sweetly vulnerable while Caldwell is suitably gawky as the ignorant Jenny.

The two guest actors give very strong performances. Keogh is stately and quietly powerful as Maureen and Yelland plays Rita with the stubborn and silent strength of the ageing matriarch.

Mitchell's script is repetitive and the characters are often on one note but the story of bitter religious feuds is compelling.

By Kate Herbert

Thursday, 18 November 2004

My Secret Marlene by Matthew Aberline, Nov 18, 2004

 My Secret Marlene  
by Matthew Aberline  
La Mama, Carlton Courthouse,  to November 27, 2004
Reviewer: Kate Herbert

Anna Voronoff's one-woman show, My Secret Marlene, is an ambitious performance. However, it is only partially successful.

The play, written by Matthew Aberline and directed by Bruce Naylor, presents an oblique view of Marlene Dietrich through the eyes of a fictional German woman, Lola.

Lola, now elderly and bed-ridden, was a Berlin cabaret artist with Marlene during the 1930s, the Weimar period of German art.

Marlene is never seen as a character but each of the parade of personalities Voronoff plays on stage is somehow connected to her.

Lola performed in a dingy cabaret show with Marlene but Lola presumed she herself, not Marlene, her lover, would be the artist discovered and whisked away to Hollywood,

As Lola, decrepit and poor, lies under her blanket, she speaks to Doroman, a shifty old fellow who is a mutual friend of Marlene and Lola.

Doroman reveals to us the puppet Lola, a precocious and perhaps abused child. What follows is Lola's own cabaret act, a provocative routine by Voronoff in a black corset and stockings.

We meet the slick manager of the cabaret club, Schmidt and the transvestite cabaret singer who insists it is his act that Marlene used to model her own husky, sensual image for Hollywood.

Lola is persecuted by the Nazis while Marlene sings and makes movies.

There are plenty of Marlene's songs: The Laziest Girl in Town, Lili Marlene, Falling in Love Again and snatches of others.

The play is too long and, although Voronoff works very hard to recreate all characters, she does not inhabit them sufficiently for the show to be successful.

The characters are ill defined and sometimes it is difficult to recognise which she is playing. Costume changes are not sufficient to clarify this.

The play drags on past its natural ending, has too many songs, too many finales and Aberline's script is too long and reveals very little about Marlene.

The music itself is effective. Voronoff is accompanied by the Schwanzkokopf Trio, a talented jazz group (Robert Jackson, Tim Hilton, Tom Fryer) However, a play with so many songs by one woman needs a strong singer to perform them.

My Secret Marlene is a valiant effort with some good ideas, but it is, in the end unsatisfying.

LOOK FOR:  The band

By Kate Herbert

Wednesday, 17 November 2004

The Sapphires by Tony Briggs, MTC, Dec 17, 2004

 The  Sapphire  by Tony Briggs 
Melbourne Theatre Company
Playhouse, Victorian Arts Centre, from December 17, 2004

Reviewer: Kate Herbert on December 17, 2004

Tony Briggs play, The Sapphires, has an insubstantial story but it is charming and entertaining.

It is a play with plenty of music. An on stage, five -piece band, (musical direction, Peter Farnan) provides excellent funky soul accompaniment and atmospheric music.

Briggs uses a true story. In the 1960s, four young aboriginal women formed a quartet performing Soul and Motown tunes.

The group comprised members of Briggs family: mother, Laurel Robinson, and aunties, Lois Peeler, Beverley Briggs and Naomi Mayers,

In 1968, after the referendum including aboriginal people in the census, The Sapphires toured Vietnam, singing for US soldiers.

The play begins with a talent quest in a rural town Dave, (Stephen Lovatt) a singing manager with a slick line in self-promotion.

The singing sisters are still a trio. Gail (Rachael Maza) Kay (Lisa Flanagan) and Cynthia (Deborah Mailman) are mediocre until little sibling, Julie, (Ursula Yovich) surges on stage with a killer version of Aretha Franklin's  Respect.

Dave convinces the girls to tour Vietnam with promises of money, and accommodation. Conditions are not what Dave promised and they realise the war is too close for comfort.

Briggs' characters are not fully developed but they are well observed in their colloquial dialogue.

The four Sapphires are engaging and energetic. Yovich has a perfect voice for Motown and Maza belts tunes out with passion. Mailman can sell a song and Flanagan has a pretty tone.

They pump out pounding versions of Chain of Fools, Heard It Through The Grapevine, Higher and Higher, Stop In The Name of Love, with a fine medley of Soul classics as finale.

Director Wesley Enoch, drives the action, focuses on the music and maintains some dramatic tension in a story that has no significant dramatic through line.

Lovatt is convincing as the flashy manager, Wayne Blair is hilarious as Kay's AWOL fiance and the talent show host. Newcomer, Aljin Abella, (OK) is a compelling presence as Joe, the Vietnamese boy and Chris Kirby is delightfully underplayed as the US soldier.

The band (Farnan, Simon Burke, Piet Collins, John Favaro, Dean Hilson) make this a musical feast of Soul.

Set by Richard Roberts is flexible and evocative and costumes by Dale Ferguson are classic 60s.

The Sapphires is a play about fulfilling dreams and challenging stereotypes. It is a play about hope.

By Kate Herbert

Tuesday, 16 November 2004

Twelve Angry Men by Reginald Rose , Nov 16, 2004

 Twelve Angry Men by Reginald Rose   
Arts Projects Australia and Adrian Bohm
Athenaeum Theatre I,   November 16 to 30, 2004
Reviewer: Kate Herbert on Nov 1, 2004

Justice and prejudice are thorny issues for contemporary Australia and Reginald Rose's play, Twelve Angry Men, although written in the 50s in America, taps into an emotional vein even forty years after its creation.

Guy Masterson He directs Rose's early version of the play that was first staged in London in 1964.

The script is based on the 1957 film version starring Henry Fonda and other luminaries. This followed an Emmy award winning original television play.

Masterson cast twelve excellent Australian actors and comedians to play the twelve men of the jury, including Marcus Graham in the Henry Fonda role.

The production transforms the stage of the Athenaeum into a stuffy, hot and claustrophobic New York jury room in 1957. The men are of the period, each with clearly defined and recognisable characteristics of 50s America.

The men sit on a jury to decide the fate of a 16 year old black boy who is accused of the knifing murder of his violent father.

 When a single juror (Marcus Graham) votes Not Guilty, frustration and tempers flare and the temperature rises even further in the jury room.

The script is intelligent, politically sophisticated, socially challenging particularly for the 1950 in the USA. Rose's characters are impeccably observed, each slowly revealing his social values and inner secrets.

Putting twelve opinionated men of diverse class, education and background into a locked room together provokes a gladiatorial atmosphere.

Rose contrives a cunning narrative. Juror number eight (Graham) suggests that he cannot, in good conscience, send a boy to the electric chair without talking a little about it first.

By tiny increments, he unfolds his concerns about the weapon, the time of the murder, the reliability of witnesses' statements and the ineffective defence attorney. Almost imperceptibly, the picture of reasonable doubt is drawn and other jurors change their votes.

Graham is rivetting as the mild but persistent architect. His vocal and physical presence is, as always, compelling. As his opposing voice, the stitched up stock broker, Peter Phelps is delightfully cool and rational.

 Henry Szeps as the older juror, is a still presence and Alex Menglet as the European matchmaker, is commanding while Aaron Blabey is hilarious as the voluble salesman and Richard Piper is convincing as the frighteningly racist juror ten.

Rob Meldrum, George Kapiniaris, Peter Flett, Nicholas Papademetriou, Shane Bourne and Russell Fletcher comprise the rest of a fine cast.

As Graham's character says, " Prejudice obscures the truth." Twelve Angry Men compels us to reconsider our own prejudices.

By Kate Herbert 

Thursday, 11 November 2004

The Cherry Orchard by Anton Chekhov, Nov 11, 2004

 The Cherry Orchard by Anton Chekhov
translated by David Lan by Pieces Of Work
 fortyfivedownstairs November 11 to 28, 2004
Reviewer: Kate Herbert on November 11 to 28, 2004

This production of Anton Chekhov's The Cherry Orchard, is a happy surprise. The direction by Kate Wild is intelligent and sensitive to Chekhov's Russian comedy. She explores both pathos and laughter in the play.

The play was first performed in 1904, just one year before the first Russian Revolution and fifty years after the emancipation of the peasants.

The characters and ideologies of the period are clearly reflected in Chekhov's intimate little world of faded gentry, loyal servants, upstart peasants and radical students.

Virginia Denham is credible and compelling as Liubov Ranevskaya, (OK) matriarch of the Russian country estate that houses the titular cherry orchard.

Denham plays the role with charm and an effervescent cheer that frequently cannot mask Ranevskaya's grief over the loss of her husband, son and now her family's estate.

We are chillingly aware of her complete denial of the urgency of solving the estate's financial dilemma when she ignores Lopakhin's, (OK) (Paul Denny) warnings of the impending bank auction of the orchard.

Denny finds a suitable brusque kindliness as Lopakhin, the uneducated peasant, now self-made businessman, who advises Ranevskaya to subdivide the orchard.

Chekhov's play is riddled with dysfunctional personalities. Gaev (OK) (Phil Roberts) Liubov's brother, is a babbling, ageing gentleman obsessed with billiards and unable to accept his spiral into poverty.

He is uncle to her pretty, selfish and much adored daughter, Anya, (OK) played sweetly by Simone Ray, is perhaps the only realist in the family.

 Anya's adopted sister, Varya, is the plain, practical and oft ignored daughter of Liubov.  Melissa Chambers gives her a comic edge but plays her with sympathy, maintaining Varya's great passion.

The set design by Glendon Fletcher, (OK) is evocative, decking the long space with translucent stencilled white fabric that is torn down to represent the demise of the estate.

Music by a quartet of strings and a soundscape by Roger Alsop, enhance the atmosphere and evoke the period.

There are delightful comic performances from John Flaus as the muttering old, loyal and very deaf servant, Firs (OK) and Reg Evans as the voluble Simeonov-Pischik. (OK)

Thomas Milton is delightful as Yepikhodov, (K) the accountant with poor luck and Angus Grant plays the radical and idealistic student, Trofimov. (OK)

If you have not seen the Cherry Orchard, Wild's production is a good place to begin.

LOOK FOR: The excruciating moment when Lopakhin almost proposes to Varya.

By Kate Herbert

Saturday, 6 November 2004

An Evening With Queen Victoria by Prunella Scales, Nov 6, 2004

An Evening With Queen Victoria
By Prunella Scales  
Fairfax Studio, Victorian Arts Centre, Nov 6 - 7, 2004. Ford Theatre Geelong, Nov 7, 2004
Reviewer: Kate Herbert on Nov 6, 2004

It is exhilarating to witness a fine actor transform on stage. Prunella Scales is Queen Victoria. 

Her capacity to metamorphose into this short stout woman who reigned over England longer than any previous monarch is astonishing.

Scales begins as Victoria in her last years but shifts suddenly and thoroughly to her youthful years. The transformation in Scales is striking as she tosses off the heavy blanket of Victoria's age, leaps from her chair and becomes a spritely, light-voiced girl.

We observe Scales visibly age both physically and vocally as she journeys through the years from Victoria's accession to the crown, her marriage to her beloved Albert, the birth of nine children, to Albert's death and her ensuing grief.

It is a masterly performance by a skilful actor. The play is much more than readings from a diary because of Scales' wry delivery and impeccable timing.

Every word in the show is Victoria's own from her letters and diaries. She was a prolific, dramatic and imaginative writer and revealed much of her inner life through her journals.

We see a passionate and intelligent woman who revelled in her duties as Queen, relied totally on her husband's love and support and fell into a dark depression for ten years after his death.

Director, Katrina Hendrey, creates an elegant and concise script with a clever structure that shifts in time and focuses on selected periods of Victoria's life.

The construction of a dramatic story from an enormously long life can be problematic because a biography rarely has a neat dramatic construction.  Hendrey avoids over-filling the narrative.

The inclusion of versatile pianist, Richard Burnett, and the thrilling tones of tenor, Ian Partridge, enhance the play. Burnett underscores scenes and plays music from Victoria's life.

 Partridge sings tunes reflecting Victoria's life, including Shumann, Mendelssohn, Rossini, Gilbert and Sullivan and even two written by her husband, Albert: Schmerz der Liebe and Der Ungeliebte.

To highlight Victoria's period of isolation in Scotland served by her faithful Mr. Brown after her husband's untimely death, Partridge sings The Sun he is sunk in the West, with words by Robbie Burns.

The Evening is elegant, delightful, soothing, charming and witty and Prunella Scales' performance is intelligent, wry and compelling.

By Kate Herbert

Thursday, 4 November 2004

A Moment on the Lips by Jonathan Gavin, Nov 4, 2004

A Moment on the Lips by Jonathan Gavin
Maelstrom Productions Old Council Chambers, Trades Hall, Carlton, November4 to 27, 2004
Reviewer: Kate Herbert

Jonathan Gavin's play, A Moment on the Lips, weaves a compelling and complex pattern of lives and characters, all of them women.

The acting from all seven women is impeccable. Our astonishment at never having seen any of them on stage in Melbourne is explained by this being a Sydney production and most being graduates of WAAPA in Perth..

Although there is no protagonist, the play has a central narrator, Victoria, (Nicole Winkler) who comments upon the action, moves us through different time frames and is the link between all the characters lives.

Victoria is a self-indulgent painter who lacks commitment and fresh ideas. Her barrister sister, Jenny, (Caroline Brazier) and is driven, overworked and supports financially both her own life partner, an academic called Rowena, (Alison van Reeken) and Victoria.

Rowena's adopted sister, Bridget, (Ansuya Nathan) is Indian by birth, a devout Catholic and confused about her sister's lesbianism and her own Indian heritage. Bridget meets waitress, Dominique, (Jesse Spence) who has a spooky, intrusive, genuinely psychic way of knowing people's deepest thoughts and fears.

Emma, (Susie Godfrey) is a glossy commercial news presenter plagued by threats from a crazy viewer. Her ex-lover, Anne, (Julia Davis) is the only married member of the group and it becomes clear she is a manic- depressive.

We see these complicated, intense, troubled,, exhilarating women over a period of time. They argue, lose friends, patch things up, meet for dinners and coffee. There is a pregnancy, a death, a journey, a breakdown and many reunions. As the characters say, "It is the little things."

Gavin gives us a sense of real women in ordinary and extraordinary situations. His dialogue is witty, credible and passionate. Director, Kim Hardwick, sets a lightning pace and keeps the rhythms varied throughout the play.

Godfrey is delightfully wry as Emma finding a balance between her brittle exterior and vulnerable centre. Spence is charming as Dom and manages to make her New Age, psychic insights and benign advice seem normal.

Nathan and van Reeken capture the troubled relationship of sisters and Davis brings warmth and energy to Anne's fragile personality. Brazier is grounded and sympathetic as Jenny while Winkler allows us to like even the volatile and self-interested Victoria.

This is a captivating production with exceptional skill. We hope Maelstrom visits Melbourne more often.

By Kate Herbert