Vale Margaret Cameron

I am saddened to receive the news that Margaret Cameron has left us. This message came from La Mama today:

"Vale Margaret Cameron, a beloved member of our La Mama community since 1975.
"Actor of extraordinary talent and daring; creator of ground-breaking new work; a truly independent artist who was an inspiration to us all; also a dedicated teacher, a great collaborator and true team player. A valued friend to many, a loving mother and magnificent cook and home-maker.

" Her memory is treasured. She will be sorely missed."

To celebrate her wonderfully idiosyncratic work and character, I have put links to several of my reviews of her work and part of the review of Opera For a Small Mammal that I reviewed last year.

Opera For A Small Mammal, Dec 4, 2013 ****
Written & performed by Margaret Cameron
Chamber Made & Bell Shakespeare’s Mind’s Eye in association with La Mama
La Mama Theatre, Carlton, Dec 4 to Dec 15, 2013
Reviewer: Kate Herbert
Stars:**** 

Margaret Cameron’s performance work is the epitome of eccentricity and defies description – but here goes!

In her solo piece bearing the bizarre title, Opera For A Small Mammal, Cameron introduces herself as Regina Josefine del Mouse, an eloquent, peculiar, mouse-like character who lives in the dusty backstage corners of an opera house like a faded diva.

Cameron is captivating as this elegant, otherworldly creature, with her twitching wobble-headedness, tea-sipping, convoluted word games and absurd, little dances.

Josefine’s shattered persona is both tragic and comical, and her pale tears, absurd distraction and inspired poetic musings are often undercut by puns, wry glances or squeaks as she squeezes little squeakers hidden in her sleeves...continues
http://kateherberttheatrereviews.blogspot.com.au/2013/12/opera-for-small-mammal-dec-4-2013.html

 

So You Think You Can Cow; By Margaret Cameron & David Young

Carlton Courthouse,  March 31 to April 11, 2009

Reviewer: Kate Herbert on March 31, 2009

Stars:****

http://kateherberttheatrereviews.blogspot.com.au/2009/03/so-you-think-you-can-cow-march-31-2009.html

The Proscenium; Written and performed by Margaret Cameron

Malthouse Theatre

Tower Theatre, Malthouse, Sept 29 to October 9, 2005

Reviewer: Kate Herbert

http://kateherberttheatrereviews.blogspot.com.au/2005/09/proscenium-by-margaret-cameron-sept-29.html

 

Bang! A Critical Fiction! Sept 21, 2000; by Margaret Cameron

at La Mama until October 1, 2000

Reviewer: Kate Herbert

http://kateherberttheatrereviews.blogspot.com.au/2014/10/bang-critical-fiction-sept-21-2000.html

I literally just uploaded this to the blog two days ago.   KH

Button, Nov 6-8, 2014

Devised & performed by Carole Patullo & Jane Bayly
Directed by Melanie Beddie
Music by Pete Farnan
Kew Court House, Thurs Nov 6 to Sat Nov 8, 2014 (Preview Nov 5)

There have been some changes and developments of the production and script since that season. I reviewed this sweet show (3 stars) in its first run, May 2013, and you can see that review here:

http://kateherberttheatrereviews.blogspot.com.au/2013/05/button-may-30-2013.html

 Carole Patullo & Jane Bayly in Button

The Mesh, Red Stitch, Oct 17, 2014 **

Written By Elise Hearst, by Red Stitch Actors Theatre (in collaboration with ARTHUR)

At Red Stitch, St. Kilda, Oct 17 to Nov 8, 2014

Reviewer: Kate Herbert on Oct 17, 2014
Stars: **

Full review also published in Herald Sun online on Tuesday, Oct 21 and possibly  in print. KH 

 L-R: Rosie Lockhart, Tom Dent, Olga Makeeva, Kevin Kiernan-Molloy, Nick Masters; pic Jodie Hutchinson  

There are so many things wrong with the script and production of The Mesh that it is difficult to know where to start.

This ill-conceived production, written by Elise Hearst and directed by Paige Rattray, tries to be metaphorical and allegorical but ends up being confused in style and annoyingly cryptic.

Hearst’s script deals with the experiences of four, post-war, European-Jewish immigrants who anxiously await approval of their Australian citizenship and pass the time by distracting themselves with costume parties, music and flirtation.

This idea has the unrealised potential to be poignant, funny, politically challenging and musically interesting, but the poorly written script has no clear style or intention while the six characters are two-dimensional and do little to illuminate the themes or even their own story.

Rattray’s direction is clunky and not cohesive, leaving the cast floundering in a mish-mash of styles that sees all the actors working in different modes ranging from broad comedy to restrained, underplayed naturalism and melodrama.

Complexity of Belonging, Oct 13, 2014 ***

By Falk Richter & Anouk Van Dijk
Melbourne Festival
Southbank Theatre, The Sumner; Oct 6 to Nov 1, 2014
Produced by Melbourne Festival, Brisbane Festival, Chunky Move & Melbourne Theatre Company
Reviewer: Kate Herbert
Stars: ***
I am not reviewing this show for Herald Sun but I saw it on Oct 13. I've written a short comment about it. KH

The collision of choreography and monologue creates some compelling moments in this piece that features dancers and actors, although the piece in its entirety is not quite cohesive.

The most powerful scenes include Stephen Phillips' ranting monologue about range, confusion and depression while Lauren Langlois tears at him, scrambling over his body, capturing the intensity of his inner turmoil in their duet of anger and despair.

Another strong scene is Langlois'  monologue listing everything that she demands of The Perfect Man. As she itemises cooking, great sex and blue-or-brown eyes, dancer James Vu Anh Pham lifts her, hurls her and challenges her physically, making this a witty and confronting moment.

Carrousel des Moutons, Oct 12, 2014 ***1/2

By D'Irque & Fien (Belgium)
Melbourne Festival
Fairfax Studio, Arts Centre Melbourne, Oct 10 to 12, 2014
Reviewer: Kate Herbert
Stars: ***1/2 

 I saw this on Oct 12. I am not reviewing it for Herald Sun but here is a short comment. Excuse the brevity. KH

Oh, so charming and funny! This is a sweet and witty children's circus piece from a wonderful Belgian duo.

A man, wearing kiddie's pyjamas, struggles to get to sleep, dragging his blankie and pillow onto a grand piano, played by an unassuming woman.

He slips, slides, tumbles, flies, spins and gapes as the children squeal. "Mummy! He's funny!"

One design trick that makes this a magical show is the grand piano that pivots on a huge supporting strut and rotates and flies through the air. It's exciting and terrifying as the man-child teeters on its edge.

Although the narrative threads came unstuck in the latter half and the show has a few false endings, I loved this show for kids!

Kate Herbert

Hello, Goodbye & Happy Birthday, Oct 11, 2014 ***1/2

Created by Roslyn Oades & Collaborators, Malthouse Theatre
Beckett Theatre, Malthouse; Oct 9 to 26, 2014
Reviewer: Kate Herbert on Sat Oct 11, 2014.
Stars: ***1/2
Full review also  published in Herald Sun online on Monday Oct 13, 2014 and later in print. KH

  L-R Diana Perini, Haiha Le, Jim Daly, Roger Oakley,Evelyn Krape: Pic Jeff Busby

The personal stories and foibles of real people are eminently more interesting than many fictional characters.

Director, Roslyn Oades, clearly believes this because her audio-script for Hello, Goodbye and Happy Birthday exclusively uses her interviews with real people who are over 80 and living in aged care, and 17 or 18 year-olds in high school.

This is Verbatim Theatre, which means that the production uses recordings of actual words spoken by real people in their daily lives and the result provides an insight into the worlds of the young and old interview subjects.

What makes this different from other Verbatim Theatre pieces is that the actors, who wear headphones, listen to and replicate the voices of their characters simultaneously, a method that heightens the immediacy and truth of the dialogue.

None of the six performers are the same age as the interviewees but much of the humour arises from Oades casting the three older actors (Evelyn Krape, Jim Daly, Roger Oakley) as teens and the three younger ones (Haiha Le, Diana Perini, Matthew Connell) as oldies.

What we hear and see is a collision of realities, a juxtaposition of the 18 year-olds’ ebullient, puppy-like youthfulness against the 80 year-olds’ lack of energy and more sedentary, introspective lives.

Cirkopolis, Oct 11, 2014 ***1/2

Cirque Éloize; Melbourne Festival
State Theatre, Oct 10 to 12, 2014
Reviewer: Kate Herbert on 11 Oct, 2014
Stars: ***1/2
I saw this on Sat Oct 11, 2014.  I am not reviewing this for Herald Sun but I have put a short comment below. It is not a thorough review so forgive the brevity. KH

Cirkopolis, by Cirque Éloize, merges a conventional, contemporary circus show with its a parade of fine circus acts, with the design concept of Fritz Lang's movie, Metropolis. 

The resulting production is successful in part although it does not break any new ground in contemporary circus.

The projected design of grim, industrial machinery and urban landscape underscore the dehumanising routine of the Metropolis-inspired world of grey-faced, grey-coated office workers pacing like automatons through their rigid, repetitive, daily routines.

The show, directed by David St.-Pierre and Jeannot Painchaud, boasts some marvellous acrobatic, dance, gymnastic and circus skills amongst its artists and several acts are stand-outs.

However, the choreography feels busy and unfocussed at times, with the stage cluttered with moving bodies and the music is relentless with few quieter or subtler moments.

Cirque Eloize, performed their show, Rain, an astonishingly lovely and imaginative piece, when they came to Melbourne for the Commonwealth Games Festival in 2007 to perform at Crown.

Cirkopolis is skilful circus entertainment but the Metroplois concept feels as if it is bolted on to a regular circus show.

Kate Herbert

Have I No Mouth, Oct 10, 2014 ***1/2

By Feidlim Cannon & Gary Keegan; by Brokentalkers; Melbourne Festival;
Merlyn Theatre, Malthouse; Fri Oct 10 to Mon Oct 13, 2014
Reviewer: Kate Herbert
Stars:***1/2 
Not a Herald Sun review. KH

For a performance that deals with family bereavement and anger, Have I No Mouth is surprisingly sweet, gentle, funny and approachable theatre.

Dublin-based theatre maker, Feidlim Cannon and his family suffered a horrifying loss 13 years ago when Feidlim’s father, Sean, underwent an unnecessary and dangerous surgery that caused his death.

In Have I No Mouth, Feidlim’s mother, Ann, and psychotherapist, Erich Keller, join Feidlim on stage to explore and expose their lives and grief in a conversation.

Their touching story encompasses Ann’s first date with Sean, Feidlim and his brother’s childhood, the death of baby Sean, the third son, and Sean Cannon’s untimely and horrific death.

On a near-empty stage, Feidlim and Anne, joined by cardboard cut-outs of Feidlim and his younger brother, Padraic, quiz each other about their family life, share tales about Sean, list objects that are important to them in telling their stories and argue about points of difference in their memories.

We enter their intimate world, hear their recorded therapy sessions with Erich, see pictures and film of the family and experience their joy, grief and rage.

The style is unembellished and natural, using simple theatrical devices such as direct address and some audience participation, but also employing Psychodrama techniques to replay moments for Ann and Feidlim, or to allow them to engage with Sean through role play.

Melbourne Festival, from Oct 9, 2014

Melbourne Festival Shows

The following are the shows that I will be seeing in Melbourne Festival. 
 
All shows I am seeing and will review for this blog: 

• The Complexity of Belonging
• Have I No Mouth
• Cirkopolis
• Hello, Goodbye & Happy Birthday
• Carrousel Des Moutons
• My Lovers' Bones
• Team Of Life
• Nanjing Project
• Hipbone Sticking Out
• Something Very Far Away
• The Trouble With Harry
• Opus
• When The Mountain Changed Its Clothing
• AM I
• Pure Movement: Trisha Brown Dance Co.  2 

I am reviewing for Herald Sun only these two theatre shows:

Hello, Goodbye & Happy Birthday 
When The Mountain Changed Its Clothing

Pennsylvania Avenue, Opens Nov 13, 2014

Written by Joanna Murray-Smith
Performed by Bernadette Robinson
Directed by Simon Phillips
Melbourne Theatre Company, Sumner, from Nov 13, 2014

 I like the sound of this show so keep an eye out for it in Nov. KH

From MTC Media Release

"Bernadette Robinson’s renowned power of transformation in evoking the great divas of our time is the stuff of legend. Her sell-out one-woman shows include You Might As Well Leave, Calling all Angels and Patsy Cline: Her Songs, Her Story. In Pennsylvania Avenue, audiences are treated to a new collection of iconic singers whose relationships with the White House spanned concert recitals to friendships, Presidential endorsements to tabloid speculation.

"With Bernadette Robinson’s unique talent in mind, Joanna Murray-Smith has created a seamless narrative entwined with music that blends show business and political history.
The final box is packed and the door is open, but Harper is not quite ready to leave. Having worked in the East Wing since the first weeks of the Kennedy presidency, there are just too many memories holding her back. For forty years, she watched history being made. And listened to it being made too – all those singers who sang for the President, defining the times while creating their own unforgettable moment."

Once, Oct 4, 2014 ****1/2

Music & Lyrics by Glen Hansard & Markéta Irglová; Book by Enda Walsh; based on the movie by John Carney
Produced by John Frost, Melbourne Theatre Company, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo
Princess Theatre, Melbourne from October 4, 2014
Reviewer: Kate Herbert
Stars: ****1/2 
Review also published in print in Herald Sun on Sunday Oct 5, 2014. KH
All photos below by Joe Calleri. 

Tom Parsons & cast of Once. Photo by Joe Calleri.

 

I SAW ONCE TWICE!

 Once is an exquisite jewel of a musical that will make you want to go home and hug your loved ones to your heart.

Its beguiling story, music and characters are uplifting, enchanting and funny, but Once is simultaneously an achingly melancholic, theatrical experience.

Just when disillusioned, Irish busker, known simply as Guy, (Tom Parsons), decides to abandon his lacklustre music career in Dublin, he meets a young, Czech woman, AKA Girl (Madeleine Jones), who makes it her mission to revive his love of his music and heal his troubled, lovelorn soul.

John Tiffany’s smart, swift-moving and imaginative direction looks deceptively simple, but he skillfully balances intimacy with bold passion, using a complex, theatrical language to transform the stage and transport us into the world and music of the characters.

A vivacious chorus of actors play the eclectic, evocative music (Glen Hansard, Markéta Irglová) live on stage and Steven Hoggett’s movement provides an inspired physicality that combines stomping, folksy dance with a subtle, abstract, gestural language.

Completing the vivid picture is the rustic, naturalistic design that recreates a Dublin pub (Bob Crowley) and atmospheric lighting (Natasha Katz).

Enda Walsh injects his witty, beautifully structured script with his wicked, Irish humour, whimsical dialogue, poignant romance and surprising Irish and Czech characters, all of which makes Once a play about and with music, rather than a traditional musical.

The Sound of Waves, 3-12 Oct, 2014

 Performed by Jodie Harris
Written by Gareth Ellis, directed by Naomi Edwards
45downstairs,  3-12 October,  2014
 I  will not be reviewing this show this season but I wrote a short review of it in 2008. See below.  KH

The Sound of Waves by Gareth Ellis

Where and When: VCA, Nov 28-30, 2008

Reviewer: Kate Herbert

Stars: ***

http://kateherberttheatrereviews.blogspot.com.au/2008/11/sound-of-waves-nov-28-30-2008.html

The Sound of Waves is a whimsical fairy tale and an allegory for performer, Jodie Harris’s own experience as a young deaf woman who received a cochlear implant then studied acting and voice at the Victorian College of the Arts.

Harris portrays a child who is slowly becoming a fish, growing gills, losing her hearing and choosing to live at the bottom of the ocean with the sound of waves and the company of other fish.

This performance is captivating on several levels for the audience. Harris’s performance is lyrical and physical and we are constantly aware of her voice bearing only occasional signs of her deafness after her years of Actor-Vocal training with Geraldine Cook (Head of Voice at VCA).

The play is preceded by an extraordinary seminar about Ms. Cook’s vocal training with deaf teenagers with cochlear implants. This program movingly demonstrates what Ms. Cook describes as “The joy of hearing and the joy of being heard.” It was a joy to be hearing it.

By Kate Herbert

From Media Release
 "Meet Shelly, a normal girl who unexpectedly finds herself becoming more and more fish-like every day. She takes refuge under the sea only to find that one day even the sea is not enough, and she must search for a way to walk on land again..."

Everyman & The Pole Dancers, Oct 2, 2014

By Lech Mackiewicz
A collaboration between Auto Da Fe & Shinjuku Ryozanpaku, Tokyo
@Metanoia Theatre at The Mechanics Institute
Oct 2 to 6, 7 to 11, 2014
I am not able to review this show but it looks wonderful and has a terrific cast and creative team. Get along and support them before they go to Tokyo. KH 

Cast
Matt Crosby (bow-tie)
Jane Bayly (black hat)
Keina Denda (hoodie)
Kazuto Shimamoto (beard)
Reece Vella (red hat), Kathleen Doyle (boa/snakeskin tights)
Maude Davey (beard)

Photos by Oscar Socia 

From Media Release

Everyman & The Pole Dancers

An Absurd Apocalyptic Comedy in 4 Quarters

“Everyman & The Pole Dancers is a collaboration between Shinjuku Ryozanpaku, Tokyo and Auto Da Fe Theatre. Text, visual-art-installation, music and dance converge from the diverse avenues of research and cultural roots of these two acclaimed companies. Everyman is a vision of our impending annihilation, seen as three generations of a family dance their perverse relationships around a lamp-post. Everyman guides them, and us, through the final stages of existence and helps them say their goodbyes with dignity before the curtains are drawn on the old world they knew. The performance relies on tension held between Naomi Ota's mysterious 'snap-frozen-nature' installation, the stretched intervals of Noriko Tadano's shamisen, the larrikin cabaret persona of Maude Davey playing Everyman, and the family process of this award-winning ensemble under Lech Mackiewicz' inspired direction.”

With Jane Bayly, Matt Crosby, Maude Davey, Kathleen Doyle, Keina Denda & Kazuto Shimamoto (courtesy of Shinjuku Ryozanpaku theatre, Tokyo) & Reece Vella. Live shamisen composition Noriko Tadano, Visual-art installation Naomi Ota, Light Design Shane Grant.