Writer: Kate Herbert
There are some nights I would rather throw myself under a
train than go to the theatre. Luckily, there are some wonderful shows to renew
one's faith in art.
Two of my favourites this year came from the UK. Three Dark
Tales (Theatre O) was a superbly crafted contemporary clown show with a
poignant story of loneliness and despair in an office. In Say Nothing, (Ridiculusmus)
a dark comedy, two actors stood atop a suitcase to creating a satirical,
political micro-view of Ireland.
Two solos grabbed me. Our inimitable Max Gillies' political
satire, Your Dreaming, returned with an updated, hilarious script by Guy
Rundle. Then Canadian puppeteer, Ronnie Burkett, wowed audiences in Tinka's New
Dress.
Melbourne Theatre Company had several successes. Rachel
Griffiths,, was exceptional in the funny and profound Proof. (MTC) True West featured
a wonderful duo in David Wenham and David Tredinnick while Laughter on the 23rd
Floor was a giggle.
There was little local theatrical experimentation this year.
However, the innovative and unconventional Interior Sites (IRAA Theatre)
altered the actor-audience relationship when we stayed overnight with the
magnetic Roberta Bosetti.
A few international shows took a bite at the experimental -
or just the mental. We saw mad Italians, (Genesi Argentinians (Mil Quinientos)
and Germans. (Total Masala Slammer) during Melbourne Festival.
The Roulette series (Ranters Theatre) and Laurance
Strangio's Krapp's Last Tapes showed how to mount great shows on low budgets.
Lucky VCA students worked with dynamic English director, Di
Trevis, on a vivid and innovative production of Remembrance of Things Past, adapted
by Harold Pinter.
From Sydney, Copenhagen was a challenging play with fine
performers. (John Gaden, Robert Menzies,
Jane Harders) and The Royal Shakespeare Company sent four resonant older actors
in The Hollow Crown to show us how to use a voice.
La Mama once more produced more small shows than anyone
else. The Store Room and Chapel of Chapel followed close on its heels with
Fortyfivedownstairs as a new horse in the race.
Some notable failures included Dead Caucasians - a messy,
long and tiresome tale of inner-urban angst -
and The Changeling which courageously incorporating a rock band into a
Jacobean Tragedy.
Indigenous issues took a front seat this year. Fire, Fire
Burning Bright went half way to integrating indigenous stories with
contemporary technology. Blak Inside (Playbox
& Illbijerri) provided a forum for important indigenous issues but the season
lacked theatrical strength.
The experimental was less visible in local product than in
imports. Of course experimentation costs money and our system provides too
little.
What we still lack is middle-sized companies. Funding bodies
provide only for larger companies or small projects. Without a middle level,
the industry cannot expand, new groups cannot move upward into positions as
ongoing companies with viable budgets.
The market is unlikely to change without increased subsidies
or massive sponsorship.
By Kate Herbert
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