dunedinperformancejournal

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‘Kings’ Is King

Another year and another Fortune Theatre Season begins. Going to the season launch towards the end of last year I’ve been excited to see what each of these new shows will hold. With a wide array of content scheduled for 2016, we begin the year with a comedy by Dave Armstrong, Kings of the Gym. Dave Armstrong’s plays are no stranger to the Fortune stage, with The Motor Camp being staged at the theatre a couple of years back, and it seems the theatre has  a flair for staging these contemporary and relevant comedic gems. Kings of the Gym is set in the gym of a low-decile school in the North Island. Focussing on the school’s P.E. teacher Laurie (Phil Vaughan), and his assistant Patrick (Jared Kirkwood), Kings of the Gym explores how the old school interacts with the new school, principal Viv Cleaver (Lisa Warrington) and student teacher Annie Tupua (Rhema Sutherland). Stuck in their ways, and fairly happy about it, Laurie and Patrick spend their days chatting, gambling and drinking in the school office with the occasional odd bit of “teaching” thrown in. When the school’s ambitious new principal sets herself on a mission to clean up the school, she assigns the new student teacher, Annie Tupua, to work with the boys in the P.E. department. Naturally, drama ensues with the clashing of opinions, educational and otherwise, and everyone finds themselves forced to change and adapt to each other. Vaughan’s portrayal of Laurie created a clear image of a sub-par P.E. teacher far more adapt at being liked rather than teaching anything. Vaughan presents the character well, often saying much more with a knowing expression or quick hand gesture than actual dialogue. The relationship he has with his fellow actor Jared Kirkwood is established instantly through a couple of moments of this silent communication. Jared brings an iteration of Patrick to the table that is endearing while also infuriating in his complacency. It has been great to see Jared in a number of Fortune shows over the past year, the first being Punk Rock followed by Flagons and Foxtrots, and with each show his characterisation becomes clearer and more focussed. Next is Lisa Warrington playing the impressive force of Viv Cleaver. I found Lisa’s portrayal of Viv the most entertaining, a credit to Lisa’s impeccable comedic timing. I was glad that Viv’s character was given voice and power through the script but I did feel that the demonization of her character at the end was unnecessary, this being a comment on the script rather than any fault of the actors. And finally Rhema Sutherland brought an enthusiastic and confident Annie Tupua to life, strong but with the freedom and willingness to show her vulnerability when need be. Tupua’s performance was probably the least secure in my eyes. It felt like she began the show with an overabundance of energy that meant she didn’t settle into a character until about 10 or 20 minutes into the show. All in all, Fortune’s first show of the year and first show under the guiding hand of the new Artistic Director Jonathan Hendry is a big success and it bodes well for the rest of the year. If you get a chance, and you’ve like Armstrong’s work in the past, get along to see The Kings of the Gym and you won’t be disappointed.

#dpj #dunedinperformancejournal #Kings of the Gym #Dave Armstrong #Fortune Theatre #Phil Vaughan #Lisa Warrington #Rhema Sutherland #Jared Kirkwood #theatre #review

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Flagons Perfect End to Stellar Year

It’s been a big year for the Fortune theatre with a lot of new ideas gaining ground within Dunedin’s only professional theatre. Beginning the year with a piece directed by University of Otago’s Lisa Warrington, Outside Mullingar, starring this year’s outgoing artistic director, Lara McGregor, the theatre showed its strength in presenting work that itself is foreign, but in many ways universal. With The War Play, from Dunedin’s Phil Braithwaite coming in afterward, particularly poignant due to the anniversary of the ANZAC’s landing at Gallipoli, the theatre stood poised to make an impact with a number of insightful and relevant servings. And audiences were not disappointed. Mamil showcasing a slice of New Zealand comedy from the skilled Mark Hadlow, Punk Rock making a bold and tragically relevant statement on the approach to youth mental illness in the modern day, The Hound of the Baskervilles giving us all a taste of some excellent farce, Time Stands Still highlighting the fluid and polished performances of the actors as well as the terrifyingly talented set designer Peter King, and of course the Disaster Brothers as something for the kids to enjoy. And so the Fortune’s 2015 season is rounded out with Flagons and Foxtrots, a home-grown piece of theatre from Alison Quigan and Ross Gumbley. Flagons and Foxtrots tells the story of a local Dunedin dance hall in the mid-60’s and the classic New Zealand characters that inhabit it. Playing the gruff and “obdurate” Sid Jenkins is Phil Vaughan, previously starring in Outside Mullingar. Vaughan’s fantastic physicality and posture vividly brings the character of Sid to life and contrasts beautifully with the energetic and playful work of the three boys, Archie, Jack, and Pinkie Moore. Played by Jared Kirkwood, Will Alexander, and James Foster respectively, each actor brought their own charm to their roles. Kirkwood gives an excellent portrayal of older brother Archie, and his exuberance and often manic behaviour creates a clear portrait of the brother set on stardom. Alexander, playing the role of Jack is established as the most dramatically invested character early on from his interactions with Rita (Kathleen Burns) and Jillian (Nadya Shaw Bennett). Foster, in his role as the joker of the brothers, Pinkie, has impeccable timing and delivers his lines with wit and a charming obliviousness. Burns takes on the role of the independent Rita, who is struggling to be respected in the conservative mindsets of the time. Bennett plays Jillian, Sid Jenkins daughter, and ultimately misguided girlfriend of Jack. And finally Cheryl Amos rounds out the cast with her character of Aunty Ina, the matriarch of the community, and the assumed lover of Sid. The show is dotted with a number of musical interludes and performances from the boys, ranging from all out rock and roll numbers, dancing included, to soulful guitar and vocal arrangements. The set, another wonderful design from designer and builder Peter King, hosts a folding dance hall and the back half of a car. The lighting is used to dual effect, both lighting the interior of the hall, whilst also providing the natural outdoor ambience to the car park of the hall. The sound was mainly produced by the Archie Moore trio and managed to strike an effective balance of being good enough to listen to, but loose enough to show that their dreams of stardom might be a bit far-fetched. All in all, the show brings what is expected and loved in an end of the year Christmas show, laughs, romance, heartbreak, music, and ultimately a sense of community. If you get the chance to see Flagons and Foxtrots, do not pass it up, a beautiful piece of kiwi comedy straight from the heart and perfect for the holiday season.

#Dunedin #DPJ #Dunedin Performance Journal #review #Flagons and Foxtrots #Alison Quigan #Ross Gumbley #Jared Kirkwood #Melanie Luckman #Fortune Theatre #Phil Vaughn #Cheryl Amos #Nadya Shaw Bennet #Kathleen Burns #Peter King #Will Alexander #James Foster

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Janus educates while it entertains.

Counterpoint's latest offering (presented in conjunction with Dunedin Pride Week), Janus, opened to a small, but appreciative audience. A piece of queer theatre, Janus was approachable to those in the audience who may not have seen this type of work before, or are not part of the queer community. The running narrative of the show is loosely based upon Dante’s inferno; Janus takes us on a journey through the underworld, however, instead of the familiar story, Sappho is queer and Dante is replaced by Meckledore (a thinly veiled parody of a hip-hop artist, popular in 2013). While this was the central story, it was interjected by various, sometimes unrelated vignettes that provide insight to, and comment on, the queer experience. Centred around an ensemble cast, Janus showcases and plays to the strengths of many of the talent involved (dancing, singing, comedy) - with many playing various roles. However, due to some of the casting and the order of the scenes, I found myself slightly confused as to whether a few of the stand alone scenes were a part of the main sketch. Clearer direction to differentiate between what was drawn from the ‘Inferno’ storyline would have benefited the play in multiple places. Janus also seemed confused as to whether it was a play, interjected with vignettes or a sketch show. I couldn’t help but feel that rehearsal time ran short and a few extra days would have benefited the show over all. The transitions were often slow, weighing down the beginning of the next scene. Scene transitions are a difficult beast to master, but even some music over the top, rather than having the audience sit in silence would have lifted the spirit of the show. On the same note, occasionally some of the scenes pushed the humour too far, or went on for a minute too long, losing some of the humour - but nothing that faster pace and higher energy from the actors and a bit of script tightening wouldn’t fix. Sinton did a good job for a first time director, Janus is not an easy show to manage with its large, diverse cast of multi-talented performers, and she should be commended on her efforts. Among other things, the show would have really benefited from a bit of tightening, just to take it to that next level. The charm in the show lay in its humorous look at the way straight people look at the queer community, without feeling like it was preaching at the straight members at its audience, which would have been a very easy trap to fall into. Without giving away any spoilers, the end scene felt very superfluous, and to me, seemed to undermine the message the rest of the show was attempting to give. It was also very, very long and drawn out in the middle, leaving it feeling flat, losing my (and my companion’s) interest, as we were left wondering when the show was going to end. I would rather the show had ended on the happier, lighter note of the previous scene (even though the deer was utterly charming). That being said, Janus was overall an enjoyable and informative evening.

#dpj #DunedinPerformanceJournal #Dunedin #Review #Dunedin Community Gallery #theatre #Counterpoint #Janus #Dunedin Pride Week #Anna Sinton

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Voyager XVI mystifies until the end...

They say that imitation is the highest form of flattery - Voyager XVI definitely attempts to prove this point. Drawing heavily on the work of performance artist Marina Abramovic, the class of THEA152 have attempted to recreate some of her well known performances in Allen Hall. It’s fair to say that this has been one of the most mysterious Voyagers to date, from the minimalist poster and long list of start times, to the performance itself - I’m not sure I quite know what it’s all about, but I have a feeling that that might be the point.

The interesting choice of doing away with box office, and allowing the audience to enter as they arrived, was highly effective. It set a more gallery-type feel, which held with the rest of the show, and which distinctly steered away from the typical performance form.

A+ for whoever had the idea to lay down bubble wrap on the floor, creating a truly multi-sensory experience in a building where so often we only consider the aural and visual.

Inside, the space was broken up into five different areas, linked together by corridors formed of drapes and gauze. The first area I experienced was a direct homage to Abramovic’s The Artist is Present. Some of you may be familiar with this performance as it is one of Abramovic’s most famous; even more of you may be familiar with the viral video of the performance that you have scrolled past on Facebook sometime within the last year. Essentially it consists of a performer, sitting in a chair, opposite another chair in which the participant/audience member sits. It’s a classic example of Peter Brook’s statement about performance only needing to consist of one person watching another. I’m unsure if homage is the correct word to use in relation to this aspect of the performance, as it is a direct recreation (at least from my understanding), of another artist’s work. I think calling it a rip-off is a little harsh but Voyager is meant to be about showcasing all the skills this class have gained over the last six months so, and I don’t think rigging a few lights and recreating another performance really showed off those skills. It would have been nice to see a new spin put on Abramovic’s work, a little creativity being sprinkled on. However it was still an effective aspect of the show, so props to that.

The second area I explored consisted of nothing more than a black, cornered off part of the space, with a single light casting a purple glow over a stool. I loved the way that this exhibit, much like the Artist is Present room, blurred the line between observing and participating. As soon as a spectator sits in that seat, they become a part of the performance, they are possibly an artwork in themselves. This showed clever use of space and light, and truly exhibited how effective performance, or art, can be created with minimal equipment, or as in this case, performers.

The third area I encountered encouraged the audience to sit and separate grains of black and white rice. Well, separate them using chopsticks while wearing earmuffs and safety goggles. I have to say that in the midst of end of semester assignments with exams on the horizon, this was infinitely relaxing; again, showing how clever use of minimal resources can produce a very genuine response in the audience.

Occupying half of the floor in the theatre was a large area, semi-secluded behind a gauze-like material on which projections played, and televisions, all displaying film of body parts while static played overhead. Did I totally understand this part and do I have some pithy comment in response? No, but I did like it! The class has used AV to create an atmospheric and aesthetically pleasing exhibit - if there is some underlying subtext to this installation then I’m sorry I missed it, but I don’t think there’s anything wrong with enjoying art without having to think sometimes.

The final part of Voyager XVI was tucked right up the back of the theatre - a room where you confess a secret. Waiting in line with four or five other people was reminiscent of some sort of strange doctor’s office. The actual act of confessing was surprisingly therapeutic. Did I reveal some life altering confession? No, but it’s still fun anyway.

I feel I can only reiterate my initial point, that this is one of the most mysterious Voyagers I have seen thus far. Even after attending the performance I’m not totally sure what this has all been about. The gallery format was interesting, but I don’t think we saw enough of this class’ creativity, which I’m sure they have in spades. On a whole however this is a multi-sensory feast that embraces the audience member and totally surrounds them. Each audience member may not totally understand what is going on at all times, but once you let go and simply take in all that is around you, it’s pretty stunning.

#Voyager #Voyager XVI #DPJ #DunedinPerformanceJournal #review #Allen Hall #Lunchtime Theatre #THEA152

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Time Stands Still Stands Strong

It’s not often that I go along to a show and have my expectations completely blown away, but the Saturday night premiere of Time Stands Still by Donald Margulies was one of these times. The show, directed by Lara Macgregor and consisting of stellar performances from Jacque Drew, Peter Hayden, Torum Heng, and Jeff Szusterman, was a taste of top quality naturalistic theatre. Dealing with the experiences of a war photographer and a war journalist who have returned home following physical and psychological injury, Time Stands Still provides an insightful peek into the role conflict and violence play in our lives.

Entering the theatre, what the audience is in for is clear from Peter King’s set. The stage is the interior of a New York City apartment, with working taps, fridge, coffee machine, and television. Stage right held the bedroom with bookcases and a bed. Centre lay the lounge, with a couch and a couple of chairs, along with a desk sitting just behind it. Stage left is the working kitchen, a most impressive feat of set design. In the upstage wall of the apartment, two huge windows display the weather of New York City throughout the play, sleet, rain, or shine. The attention to detail throughout the set is impeccable and is a statement to King’s vast experience as a set designer.

The show begins with the entry of Sarah (Drew) and James (Szusterman) up an offstage stairwell and into the apartment. They have just arrived home from overseas and are getting settled into the apartment again. Drew, the one real American in the cast, started off perhaps a bit forced, and her lines seemed to be being delivered to the audience rather than her fellow actors. However as the play progressed, she found her rhythm and showed more honest vulnerability. I particularly enjoyed the way that as the wounds on her face healed, more wounds between Sarah and James began to open up, the makeup for said wounds expertly applied by George Wallace. Szusterman, who played James, Sarah’s partner, brought a strong performance to the show, drawing empathy as well as annoyance from the audience. A couple of moments of conflict between James and Sarah felt jilted due to some unclear physicality from Szusterman, but apart from this, I immensely enjoyed his performance. Richard (Hayden), Sarah and James’s friend, introduced the notion of a world outside of the war-torn. I enjoyed the way in which Hayden brought a natural flow to the conversations he was engaged in. His performance seemed to lack subtext at times, or at least a noticeable manifestation of this subtext, but this may have been a script issue. Finally Heng, who played Mandy, the much younger partner of Richard, brought a sense of energy, youth, and innocence to the show. Mandy is a character that I feel many would align themselves with, if not personality-wise, in terms of comprehension of the gravity and impact of war. Heng’s portrayal of Mandy is probably the most consistent of all the cast. Strong and sustained, Heng’s performance weaves in with the other actors’ to contribute towards an effective and engaging show.

Inspired sound design from Matt Morgan accompanied the performances and the set, complete with sirens, traffic noise, and the general hum of a city, to add to the immersive effect of the play. Some subtlety was used to help punctuate key moments in the play as well through the use of sound, and it is for this especially that Morgan should be commended. The lighting design courtesy of Garry Keirle created a lovely flow throughout the set and accompanied the actors’ movements about the stage with a sense of ease. The opening lighting states of the show were some of my favourites and were a great introduction to the world of the play.

Time Stands Still is a tricky beast to bring to the stage; essentially Margulies’ script is four people sitting in an apartment, chatting about some things. However under Lara Macgregor’s careful, considered and nuanced direction, the script is brought to life, perhaps a little tentatively at certain points, but brought to life nonetheless. Macgregor has done an exceedingly good job at taming said beast, and should be praised for the delicate crafting she has obviously exercised in the production of this work. As many readers will know, this is Macgregor’s last show at the Fortune as Artistic Director, and what a show to go out on. DPJ thanks Macgregor for all the work she has done, not only for the Fortune, but for the Dunedin theatre community as a whole and wish her well on her future endeavours.

All in all, Time Stands Still stands as possibly my favourite Fortune show this year, which is saying a lot considering what a strong line-up the theatre has had so far. I can only recommend that everyone gets a ticket and goes along to see the New Zealand preview run of an extremely engaging and provoking piece of naturalistic theatre. You will definitely be thinking hard about this one, long after you leave the theatre.

#dunedinperformancejournal #DPJ #Dunedin #Theatre #review #Fortune Theatre #Lara Macgregor #Time Stands Still #Donald Margulies #Torum Heng #Jaque Drew #Jeff Szusterman #Peter Hayden

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Happy in Theory? Very!

So with a new week, we draw ever so closer to exam time here at the university, and with this new week we are brought a brand new helping from Allen Hall’s Lunchtime Theatre season. This week’s Lunchtime Theatre is a piece put together by the soon to be 2015 Performing Arts graduates, Khan Francis Smith, Clement Cizadlo, and Megan Wilson. The graduating students of this course combine the disciplines of Music, Theatre, and Dance, to produce a devised performance, in this case, Happy in Theory. As I understand, the title of the show was chosen first and then the students were required to devise their performance around the title, which has led to an interesting piece. Where to begin? First of all, it must be said, I really loved the format. Using a musical theatre setting to deal with important issues can be extremely effective. Starting off with what seemed to be an introspective monologue examining the definition of the word “happy,” Wilson sets the scene for what is for the most part an effective and engaging show. This is followed by the entrance of Cizadlo, whose first song starts off perhaps too timdly, before being rectified as he gets more comfortable on the stage. After this opening song, we are introduced to Cizadlo’s character, the bitter, heartbroken drag queen, who only wants to have a mature conversation with his ex-boyfriend, and snidely comment on his receding hairline. Following Cizadlo’s monologue is Francis Smith’s story, one of a pair of lovers in the 1920’s, who after meeting and falling for each other begin an alcohol-fuelled party binge, or so I could tell from the 20’s slang. Francis Smith takes the character of the man, heart-broken and full of regret, sitting alone at the bar, sipping on a whiskey, perhaps not the wisest choice, and telling his story to the audience. At the end of Francis Smith’s monologue, the audience are treated to a bit of Britney Spears, in the form of “Toxic,” in three part harmony. As I said earlier, Wilson provided a very strong start to the show with her opening “Happy” monologue. It was well developed and it gave the piece a very clear base-point to work from. Wilson’s other appearances came in the form of an infomercial salesperson, attempting to sell her “Happiness Elixir” (Smirnoff vodka), which for the most part she pulled off well and came across as quite funny. The main jarring moment I found with Wilson was during her song “Little Bird (Happy Girl),” in which she seemed to lose her pacing and momentum. It wasn’t terrible by any measure, but it did pull me out of the action. The other moment that Wilson’s character was given her spotlight was prior to the finale song when her character begins hearing noises again (she heard them during the beginning “happy” monologue as well, I forgot to mention).  I assumed that Wilson’s character was a woman suffering from mental illness, possibly schizophrenia, and using alcohol to cope with it. I also assumed that she was a 1950’s housewife, secretly dissatisfied with her marriage and unfulfilling life. If this was the case, I think Wilson did well to portray her character, and the sound elements were used scarcely enough to have impact when they needed to. It would have been nice to see a bit more about Wilson’s life, and possibly a bit more about her actual character, behind the salesman mask, but I guess lack of character exploration kind of goes with the housewife image. Next up was Cizadlo. As I said before, Cizadlo’s performance began a bit timidly, which was only noticeable because he was playing a drag queen, possibly the least timid character you could play. Also, keeping in mind this was their opening show, it was understandable that it took him a little bit to warm into character. However, as he pushed through his first song, “After Taste”, his confidence built and his performance began to feel a bit more like a proper cabaret. Cizadlo’s character revolved around the bitterness he felt towards his ex-boyfriend, and this was what he played on for more or less the whole show, how people deal with loss and the stages that we go through. It was also implied (heavily) that Cizadlo’s character’s mother was an alcoholic, a fact that links Cizadlo and Wilson’s characters. For the most vocal of all the characters, it was interesting that his character had the least to say, and only began to open up at the end of the play during the final song, “I Swear I’m Happy.” I took this to be a reflection on the fact that he had built himself into an emotional shell to be strong because his mother was an alcoholic and couldn’t protect him like a mother normally would. On the whole, Cizadlo effectively portrayed his character and his moment of connection with Megan near the end was a nice moment of catharsis for the audience. Oh, and the rap battle? That was so cool. Clement, I think entire audience would’ve had your back in a fight after that. And last, but in no way, shape, or form least, Khan Francis Smith. I’ve said all I need to say about Khan really, the smooth talking, cool cat from the 1920’s who fell in love with a fine dame. The most striking thing about Francis Smith’s performance I found was the fact that she sat on the bar stool for the first 10 minutes of the show and hardly moved, which really built anticipation for the time when she finally did move. When her time finally came to move, she brought to life her character through slang, gesture, and a surprisingly good period accent (surprising because accents are hard, not because she was shit). Francis Smith’s clear three-part story was a great anchor for the rest of the show as it kept everything moving though its clear dramatic arc. My favourite song of Francis Smith’s was “Man in Love,” a dub/reggae-influenced piece that added a nice variety to the show music. Also, her voice was en pointe with that song, and it was clear that she has an aptitude for that kind of singing. It would have been nice to see a bit more variation in gesture from Francis Smith, as some of the motions she used in excess became a bit too comical for my liking. Also, some of the pauses in her speech let the energy of the action drop, which became a bit jarring, so it would have been good to see a bit more work done on carrying through those pauses, but aside from these issues, it was a rather great performance from Francis Smith. The final person I should probably mention is Jeremy Mayall, the University of Otago Mozart fellow for 2014. His minimalist instrumentation and tracks accompanied the singers, and although not really my taste, worked well with the songs that, Cizadlo, Wilson, and Francis Smith had written. All in all, there were some fantastic moments in this week’s Lunchtime Theatre, Happy in Theory, and I stand by what I say, musical theatre can be an awesome medium with which to tackle serious subjects, in this case alcoholism. Perhaps Dunedin could do with a bit more of this sort of thing, or maybe a fusion would be nice, “musical verbatim theatre.” I’d pay to see that.

#dpj #dunedinperformancejournal #review #dunedin #theatre #cabaret #Allen Hall Theatre #Lunchtime Theatre #Happy in Theory #Khan Francis Smith #Clement Cizadlo #Megan Wilson

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A Good Idea at the Time is a good time!

Arguably one of New Zealand’s most well-known playwrights, Roger Hall has a sense of stigma following his name that either condemns him or exonerates him depending on which generation you’re talking to, and how much they know about theatre. It’s worth noting that Hall has close ties to Allen Hall Theatre, so when he writes something new specifically for Lunchtime Theatre I feel as if I’m in for a little bit of a treat in terms of content and form. I wasn’t disappointed. A Good Idea at the Time was a well-crafted and well-structured piece of theatre that would have appealed to my parents, my fellow scarfies and my fellow members of the theatre community. The simple set design was the perfect representation of a student flat in Dunedin and its transformation half way through was absolutely hilarious. The actors inhabited the space as if they owned it and it was particularly interesting to watch the chemistry between Aidan O’Malley (Tim) and Lachie Oliver-Kerby (Jack) and how it juxtaposed with their individual relationships with Victoria Ransom, who bought an entirely different type energy to the stage. Oliver-Kirby inhabited the bad boy Jack perfectly and is the epitome of ‘loveable rogue’, he had us in stitches with a few cheeky grins meaning that the audience was drawn in by his not-so-subtle attempts to seduce the women in his life. This combined with the charming youthful energy of O’Malley provided a lot of the tension and the laughs for the audience. The audience was definitely on O’Malley’s side: he was like the adorable puppy that got kicked and came back for more and I was definitely rooting for him right from the very beginning. 

Ransom provided a good touchstone for these two characters as she entered the space after we had already spent some time learning the dynamic between the two boys and oozed her sass all over the stage providing the perfect setting for things to come to a head. The script itself was particularly interesting as it was extremely current (something Hall is often criticized for not being) and relatable. It ended on a bit of a twist that wasn’t so much an ending, but rather an opening that made me leave the theatre wanting more – which is always a good thing.

Ultimately A Good Idea at the Time was a great way to spend a Friday afternoon a director, Jordan Dickson simply, yet effectively put together a solid show that was thoroughly entertaining.

#dpj #review #dunedinperformancejournal #Allen Hall Theatre #theatre #dunedin #Roger Hall #A Good Idea at the Time #Victoria Ransom #Lachie Oliver-Kerby #Aidan O'Malley #Jordan Dickson #Lunchtime Theatre

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“I Think You’ll Like This” is a Smash Hit!

The Thursday night lunchtime theatre shows are my favourite. Heading along to Allen Hall without the fear of inadvertently missing a class or meeting, and the cast obviously more relaxed without the looming threat of the lecture in Allen Hall at 2pm on Thursdays. I’m especially glad that I was privileged enough to see I think you’ll like this, Jason Henderson’s (not really a) one-man show in this context, as it turned out to be a true night out to the cabaret. Jason begins his show with the Ugly Bug Ball from the Disney film Summer Magic and to a great reception from an alight audience (yes, that’s us). Getting into the swing of things, he follows the song with a bit of back story and of course with some anecdotes from his life. Suffice to say, Jason’s singing life has been colourful. The cloak of cabaret, he explains, has only been adorned on him this year and prior to that his singing consisted of musical theatre, oratorio, gospel, you name it, Jason has probably given it a go. Suffice to say, the singing throughout the show is diverse and absolutely fantastic. As far as his story telling goes, Jason captures the audience’s imagination with a wide range of witty, charming and self-reflective anecdotes throughout the show, and I think I can speak for everyone when I say there were a few moments when we were thinking, “You can do it, Jason!” As far as development as a performer goes, I would love to see Jason perform again as I think anything that could be improved on would be mainly rooted in confidence and getting used to the form of cabaret. As his stagecraft in storytelling and singing improves, he’s definitely going to be a face to look out for. Highlights for me were Paul Anka’s “My Way” popularised by Frank Sinatra, “Something’s Coming” from Westside Story and a stunning arrangement of Ride on King Jesus that showcased some of Jason’s upper belt and head voice. Jason was accompanied throughout the show by musical director and accompanist Fiona McCabe. Just looking at her career in the programme is intimidating. Pianist, accompanist, repititeur, organist, soprano and choral musician, it is clear that Fiona’s immense musical knowledge has been a great support structure and sounding board for Jason to bounce ideas off of. She accompanies Jason with fluidity and ease throughout the show and adds an extra element of professionalism that can only be attained by someone of her skill. The way she knits the first medley together of Top Hat, White Tie and Tails; Putting on the Ritz and Steppin’ Out with my Baby in such deceptively easy manner highlights a playful element in Jason’s performance and in the show as a whole that is so true to cabaret. As Jason says, this has definitely not been a one man show. With Tutors, advisors, directors and tech crew, each doing their part to put this event together, they have all done fantastic work. The lights follow the journey of Jason’s story, exuding atmosphere and intent. The highly intelligent decision was made to give Jason a microphone, a decision that’s not always clear in a space such as Allen hall. And then spherical lightshades used as set were inspired. For me this was a Thursday evening very well spent. If you get the chance, make sure you get to see Jason perform. With his signature combination of wit and charm, he will leave you bemused and sentimental; beaming and contemplative. And to answer Jason’s final question, “Will I make it?” I think I can speak for the rest of the audience when I say, we certainly hope so.

#dpj #dunedinperformancejournal #review #theatre #cabaret #Allen Hall Theatre #I Think You'll Like This #Jason Henderson #Dunedin

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Counterpoint tackles Shakespeare

Counterpoint brings us The Merchant of Venice this week, a play written by Shakespeare and directed by Alison Embleton. The Merchant of Venice is about a young woman named Bassanio (Joelle Peters) that has her friend Antonio (Ashley Stewart) borrow a large sum of money from a moneylender named Shylock (Daniel Goodwin). This is so she can have a chance at winning the hand of a beautiful heiress named Portia (Marea Colombo).

One does have to muster a little bit of courage to go and see a play by Shakespeare – the language can have any average person struggling to understand, and was written for an audience centuries older than we are. This play holds many themes that are relevant today, including social prejudice and an in depth look at what humanity is. Embleton takes a modern approach to this old play, making it more accessible to everyone.

My companion and I walked in and sat in the front row, and it wasn’t until just before the show started that she commented that the lights would potentially be blinding us during the show. We did spend the remainder of the performance with coloured light in our eyes but the way the stage was set up didn’t seem to allow for anything different. The play started slowly and was a little hard to follow. It isn’t until the first scene with Portia and Nerissa (Nell Guy) that you begin to understand who is who and what they are talking about. Marea Columbo as Portia does a fantastic job at reciting Shakespeare. The way Colombo spoke had a nice rhythm to it and she spoke in way that made her easy to understand. Shakespeare is very daunting to the general public because it can be very hard to understand, but Columbo made herself very clear in the way she spoke, and though Portia seemed to be a little bit spoilt, she made herself loveable. 

Shylock, the well dressed villain of the story was portrayed by Daniel Goodwin. Goodwin easily captured the audience, and many laughs from the crowd were due to lines he spoke. He played Shylock with much sass and was genuine in his performance. Even though Shylock is the villain and hasn’t the best intentions never once did I have any ill feelings toward his character as he was portrayed so well. 

The stage was well used, the actors moving frequently and turning so no member in the audience is stuck with looking at the backs of the actor’s heads for the entire night. The actors all have great chemistry; the affection between friends very real and the hateful tension established between Shylock and Antonio especially strong. 

The Merchant of Venice is written in a way that allows it to be done in a comedic way or with a more serious tone. Embleton struck a nice balance between both. The actors delivered the jokes so that the audience would be able to understand and laugh at them.However, the play overall had a sombre feel to it – we were always reminded of many of the characters’ prejudices against one another. 

It was a wonderful touch to have Bassanio played by a woman instead of as a man; it was a little bit confusing at the beginning, many of the pronouns remained masculine and this had potential to confuse anyone who was not paying enough attention, something that is more than likely to happen when watching Shakespeare. That being said, my attention didn’t drift as much as I expected it to. The court scene at the end was one that may have lost the audience’s attention a few times, as it contained more pauses than one could have patience for. This scene that is drawn out much longer than it needs to be - this isn’t the fault of the actors or anyone behind the scenes, but the man who wrote it, and although the team ensured the audience’s attention was held for the greater part of the play with lively acting, it did drag towards the end.

The Merchant of Venice is a worthy watch, if you do not mind sitting for a long time. It contains themes that are still relevant today and doesn’t require you to over analyse to be affected by them, something that even non-regular theatre-goers can appreciate.

#dpj #DunedinPerformanceJournal #Review #theatre #The Merchant of Venice #Alison Embleton #Counterpoint #St Paul's Crypt #Dunedin #Shakespeare

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New WoW! Productions Show Wows!

WoW! Productions bring us the story of Henry Farley, an English businessman and entrepreneur who lived and worked in 1861 as well as the Toitū stream and its importance in Maori culture. Farley’s Arcade does seem a little underdone – but aside from a few pauses and stutters in the beginning it is a lovely experience, mixing history and fun whilst providing an immersive experience for all. 

The show gets off to a mildly confusing start – my friend and I wandered toward the Athenaeum where all the people were and got to the front of the line only to be turned away and told we had to pick up our tickets and play money from Thistle cafe next door. There were no signs indicating we should’ve done this, and we weren’t the only ones who made this mistake, but the fault was quickly remedied and we were seated with the piano playing lightly within 10 minutes.   The story of Farley’s Arcade is easy to follow – in fact there are two stories running side by side.  The melodrama begins first, titled “The Golden Handkerchief” written by Richard Huber and directed by Lisa Warrington. Here we are introduced to the Henry Farley (Jared Culling), his love interest DunEdie (Nadya Shaw Bennett) and his rival/business partner Shadrach Jones (Phil Grieve).  The idea of having Farley in love with an embodiment of the town he helped raise to success was a nice way to tell the story and though the show was a bit slow to start, the audience warmed quickly and the jokes got better as the night went on. 

Bennett was wonderfully melodramatic and ditzy which everyone appreciated and laughed at Culling was a confident Farley that we all would have imagined him to be. 

Grieve was amazing as the villain of the story playing the villain we all got used to as kids with a pointed moustache and flying cape with the dramatic expression to match. Grieve established his character very quickly and commanded the room with his booming voice. 

The second story is of a woman and her chid – Old Wiki played by Rua McCallum makes an appearance midway through the show after the first half of the Golden Handkerchief. She calls us to follow her, and leads us through the building to the top of a flight of stairs. She holds her child at the top of the stairs and greets everyone just before they descend. My friend and I were personally stopped; McCallum spoke to us very genuinely in Te Reo before directing us down the stairs to Farley’s Arcade. McCallum had a smooth air of confidence and was very comfortable in her role, effortlessly captivating and elegant. 

Farley’s Arcade was a bustling market setup that had the audience mixing with the actors. We were all given play money to purchase things in this market and in this time. Walking down the ‘street’ there were wares to be bought and experiences to be had. My companion sat as a man went through the motions of shaving his beard. I had many a conversation, one about a wedding with some finely dressed young ladies, a boy trying to sell me something he had stolen and was coerced by a man by the name of Dr Dangerfield to smell an ‘elixir’ that was guaranteed to soothe and heal. The market setup was very well done, and audience members had a grand time exploring all the shops. 

After wandering through Farley’s Arcade we were led into the next room where both the stories were wrapped up. Someone wandering into the show with no knowledge of why it was written or who the characters are based on would be very confused – The Golden Handkerchief and Old Wiki’s story don’t seem to be coherent from this perspective. One has to be relatively familiar with the premise to be comfortable with these stories together, and they won’t make complete sense until after you have seen the ends.  

Costume Designer Sofie Welvaert paid good attention to detail, I am certain that I wasn’t the only one to stop and marvel at how fine all the dresses and suits were. Most of the actors and actresses were dressed in 1860s English dress, but there were a few dressed in Steampunk style, getting many a smile from people who recognised it. The costume in Farley’s Arcade was a marvel. The interactive element of the play is definitely the best part. The actors mingle with the audience, and it’s not in such a way that you feel singled out at any point. Many people are put off when audience interaction is involved, but even if you are, there is nothing to be worried about here. Farley’s Arcade brings you a gentle form of audience interaction, allowing you to be carried through the show without being required to participate for it to continue. The show will please people who appreciate audience participation and those who don’t. Although Farley’s Arcade had a had a few small issues in the first 10 minutes of the show it was quickly forgotten as the show takes your hand and guides you through the success that was Farley’s Arcade and the story that made it. It is only set to get better in the nights to come, and will certainly continue to capture everyone who attends and make them feel and sense of nostalgia for the Dunedin that we missed 100 years ago.

#dpj #DunedinPerformanceJournal #Dunedin #Theatre #review #WoW! Productions #Farley's Arcade #Farley's Arcade: The Wildest Place in Town #The Athenaeum

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Ride of a Lifetime Delivered in Wings

I came along to Wings expecting to be taken on a wild ride and I certainly was not disappointed. Up-and-coming young playwright Jess Sayer’s innovative masterpiece, Wings, was performed stunningly at Allen Hall Theatre. The ever-changing theatre space was set up in a simple composition this week with a modest black background that illuminates the central set piece, the focal point of the play; the car. Director Jordan Dickson’s set decisions are impeccable. The car itself consists of adjustable car seats set up on a raised platform and a steering wheel, which was either held by the driver or placed conveniently under the seat. This ‘car’ created by the crew conveyed enough of a feeling of a car but did not go too far into naturalism which I thought was an appropriate decision. Walking into the space I was transported into the world of the play with ‘classic driving music’ with Quinn (Jennifer Shack) and Bambi (Katherine Kennedy) peacefully bopping along; this made me eager to join them, buckle-in and enjoy the ride.

The play follows the ups and downs of the road trip of three estranged sisters reuniting to travel to their mother’s funeral. New Zealand playwright Sayer provides a relatable portrayal of sibling relationships making everyone in the audience think about the value of their brothers and sisters in their own lives. Wings delivers hilarious lines, goose-bump inducing shocks and fosters many tears. Dickson and his team certainly stimulate the full spectrum of emotions throughout the duration of the play.

Jennifer Shack took on the Lunchtime Theatre stage as the oldest sister Quinn. From the beginning Shack provided relentless enthusiasm within her character delivering amusing one-liners and her relatable personality gained her the audiences’ support very early on in the play. She held onto her character well throughout the emotional rollercoaster Quinn embarks on with her sisters as the play progresses. All three actors were very realistic in their depiction of their despair with real tears gleaming off their faces as they faced the audience in the curtain call.

Bambi, who swore ‘black-and-blue’ throughout the play she was not a ‘hippy’ but held all the characteristics of archetypal ‘hippy’ all the same was played by the talented Katherine Kennedy. Kennedy’s portrayal of the middle sister was flawless and she engaged with the audience almost immediately, becoming increasingly comical with each sip she took from her flask. Bambi like all the characters went through a major change and Kennedy effectively transitioned from the carefree character at the beginning to provide a heartbreaking performance during the climax of the play.

A familiar face to Lunchtime Theatre, Sinead Fitzgerald beautifully portrayed the youngest sister Mo who resented her sisters for their abandonment in the past. Fitzgerald’s spunky representation of Mo was very entertaining, likewise was her shocking and devastating performance later on in the play. It is obvious to the audience that Fitzgerald as an actor was invested and emotionally connected with her character in the devastating and horrific moments that occurred.

Director Jordan Dickson did a phenomenal job of coordinating this play. His directorial decisions made the Sayer’s story shine through the strong female ensemble and left audience conflicted as we felt content with what we saw but had an overwhelming urge to know what happens next.

I strongly recommend coming along to this play. There is something in it for everyone including a fantastically relatable singing and dancing interlude to the Boogie Nights favorite C’est La Vie. Wings can be seen again on Friday 14th of August at 1pm. Dickson has implemented a ‘pay what you think its worth’ system meaning the audience can choose after the play how much they think they should pay based on their appreciation for the Wings. This initiative is great as it makes Wings accessible for anyone wanting to get out and see some theatre.

#dpj #dunedinperformancejournal #review #Allen Hall #Lunchtime Theatre #Theatre #Wings #Jess Sayer #Katherine Kennedy #Jennifer Schack #Sinead Fitzgerald #Jordan Dickson #dunedin

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Hounds is Ast-Hounding

I must admit, arriving at The Fortune Theatre to see the opening night of The Hound of the Baskervilles, I was in a state of anticipation. What little of the premise I had heard sounded fantastic and appeared to be right up my alley. I have to say, the show for the most part did not disappoint. The show is to say the least, shambolic. In the best possible way.

The audience steps into the theatre to see a number of columns at the rear of the stage, flanked by a couple of suitcases and a long wooden chest. On either side of these is a door and a chair. Each of these set elements are used extensively throughout the play, my particular favourite being the fireplace. The play opens with an address from the actors, explaining that there has been a mix-up due to the fact that there are two productions of the same show running at the moment in New Zealand. One at the Fortune, and one at Circa in Wellington. From there the premise is set up for the three remaining actors to valiantly continue on with show and endeavour to play the parts of all 37 characters themselves.

Firstly, the hightlights. Well where better to start with a comedy than with the jokes. And boy were there a lot. Puns, sexual innuendo, prop jokes, set jokes, physical humour, self-referential humour, you name it, The Hound of the Baskervilles has it. Even if a couple of jokes fall flat, there is always another one just around the corner that’s coming at you with a completely different tact. What I find most rewarding with the play are the moments in which it is clear how even though the show appears as a shambles at times, clearly an incredible amount of skill and dedication is required to pull it off. I’ll say no more than that the beginning of act two is an impressive feat indeed. Personally, some of the sexual innuendo feels a bit archaic and gets a bit dominating towards the end of Act 2, but this is a small blip in an otherwise very funny show.

I have to take my hat off to Actor/Director Patrick Davies. The work that he has put into the show has clearly paid off, and to direct and star in a show that requires such technical precision, skill and organisation is no mean feat. Davies begins the play as Sir Charles Baskerville before swiftly moving on to play the character of Dr. Mortimer and then Charles’ Canadian Nephew, Henry Baskerville. Davies works particularly well with Simon Leary on stage, and their chemistry as Henry Baskerville and Dr. Watson is infectious. Simon Leary brings a wonderful over-dramatic element to the stage with his portrayal of Sherlock’s lovable, yet somewhat dim sidekick. His skill and experience with comedic work is clearly seen as his delivery of jokes is nigh on impeccable. However the actor that truly makes this show what it is, is the wonderful Nick Dunbar. His portrayal of Sherlock and nine or so other characters speaks volumes for his skill as a comedian and actor. And just wait until you see him move. One of the few issues I had with the show was with the lack of female characters and their portrayal. Of course, it can’t be helped much with the original script being written in 1902, but it just didn’t sit quite right with me.

I think the stage management also needs to be commended highly for their work. Some of the costume changes in the show must have reached light-speed, and I imagine that George Wallace and Jordan Dickson have a huge part to play in this, so kudos for you for making one hell of  a slick show.

Overall, my night at The Hound of the Baskervilles was a fantastic one. And if the reactions of the audience were anything to go by, it’s a show that will be enjoyed by  a wide range of people. If you feel like some wonderfully witty (and some not so witty) humour, with a side of impressive technical elements, get yourself down to see The Hound of the Baskervilles. It’s on until the 5th of September, with a Q&A on the 11th of August, so you’ve pretty much got no excuse not to go. Unless you hate fun. In which case, don’t go.

#DPJ #Dunedin Performance Journal #review #Hound of the Baskervilles #Fortune Theatre #Patrick Davies #Simon Leary #Nick Dunbar #Dunedin Theatre Awards Best Actor Nick Dunbar

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Beat{h}oven Exceeds Expectations

Expectation is often the cause of disappointment, but I am glad to say that I walked into Beat(h)oven with high expectations (the poster was an eye-catcher) and they were exceeded. Beat(h)oven was full of great humour and music as well as having a beautifully thought out story that anyone could come in and relate to and appreciate.

Director Zac Nicholls made all the right decisions with this play. Once I walked in I never once pondered the outside world, completely absorbed in the story and following the all the actor’s emotions with my own.

The scene was set as you entered, the lights down and the cast dancing to great music. As the time approached the lights dimmed over the audience and your attention is naturally focused to the people on stage without being obvious or abrupt, which is something that carried through the entire show. The transitions between all scenes were quick and painless, often accompanied by music from the live band seated in the back. Often I find transitioning between scenes obvious but watching Beat(h)oven I didn’t notice at all.

Tyler Neuman had the main role as Ludwig van Beethoven and did a fantastic job, rocking the ‘nerd chic’ with confidence.  Neuman quickly had the audience on his side, sympathising with his character and wanting him to succeed as a DJ. Right at the beginning it is established that he is not the best DJ in town, and that his parents are split when it comes to supporting him. However, he is lucky to summon the old and well-known composer Wolfgang Amadeus Mozart to help him in his journey to success.

Sofian Scott held his character Mozart very well. He blew in fabulously well dressed, and the friendship that quickly grew between Neuman and Scott’s character was probably the most well defined and adored character interaction in the show. Scott delivered many good one liners and had the crowd giggling most of the time.

Adelaide Dunn had the role of villain in the story, the not-so-famous composer Antonio Salieri. She played a very lovable villain. She was delightfully dramatic and did all of the jokes justice. I think the audience appreciated the actor in the audience who argued with Dunn’s character during her many speeches to the crowd. It made the show immersive without demanding audience participation and was something unique to include.

Ben McCarthy had a wonderfully loud presence on stage, playing multiple characters, but he definitely caught everyone’s attention when he sang loud and high as an angel and in his later role as Beethoven’s caring and feisty mother. He was very confident on stage and not afraid to exaggerate to make the audience laugh, which he did many times. The character Dr Danzenheimer is revered by everyone on stage, building quite the hype which McCarthy didn’t disappoint when he blasted in.

Writer Nick Tipa did a great job with the script. He used plenty of modern references and the humour was on point and well suited to the audience. The story progressed very nicely, following a story arc that kept you comfortable without being predictable. Beat(h)oven had a great deal more humour than I had expected walking in and the story didn’t drown trying to be too funny.

Of course, the music is a big part of this show and it most certainly didn’t let it down in any way. The music was just as great as the script, incorporating the same tasteful humour without being too dirty. This you realise very early and it continues to make you smile if not laugh through the entire play.

What I appreciated the most about Beat(h)oven was that it is very obviously something that smart theatre students came together to construct, but it doesn’t just appeal to a theatre students. It was funny, the characters were relatable and the beats were sick. Beat(h)oven is a show everyone can appreciate because there are many aspects to enjoy such as the music, the story and most certainly the humour. It’s a lovely break from reality, and you’ll leave feeling good about how it all turned out.

#dpj #dunedinperformancejournal #Dunedin #Allen Hall #Lunchtime Theatre #Beat{h}oven #review #Nick Tipa #Zac Nicholls

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Another high calibre performance from Indian Ink

Kiss The Fish by Indian Ink is definitely an un-missable event. Full of rich culture and magic this show will delight any who are lucky enough to see it. Following the story of Sidu, the aspiring Freddy Mercury who is really just a lowly field hand as he tries to capture the heart of Daisy, and uphold his father’s legacy.

All of the actors play various parts, and they truly suck us into the world that this beautiful story inhabits. A mere four bodies bring to life a myriad of characters and the fluidity that these performers display when moving between those different parts is admirable. There was one quite comical moment when the same actor played two characters that had to interact, but obviously they couldn’t, and I felt that more of this type of stage-work could have been interesting; this is because no effort had been made to establish the ‘fourth wall’ and some of the most interesting aspects of the show were when the characters bought the audience into the action, this made us more than spectators and we felt more emotionally involved with the humour and the storyline.

The masks were especially beautiful and they are some of the best and most interesting masks I have ever encountered. Whilst being comic, they left the bottom part of the mouth exposed so that it gave the impression of simple villagers, whilst still being extremely expressive. Combined with the music, the masks made this show something really unique and special.

The music - all crafted onstage by one-man-band David Ward - was fun and helped add a sense of atmosphere to the show. In particular I found the grandfather’s song highly entertaining! I was slightly disappointed that there were not more songs like it, as I felt it really added colour and texture to the piece that other shows don’t always have.

The set helped add to this ambiance as well. Constructed out of a series of patchwork curtains that could be moved around in countless different ways, this was an interesting and highly versatile way to alter the stage space. Some bits could be seen through for effect, while at other times they could not, which allowed the company to create beautiful effects using shadows and light and allowed actors to appear and disappear almost seamlessly. The beautiful simplicity of this set added a truly magical quality to the show.

At up to $55 a ticket, this is an expensive night out, and the show was a little bit too long for my taste, but ultimately the quality of the production is extremely high and kept the audience engaged from start to finish. The beautiful cast of characters and the way the actors bring us into their world is more than enough to make up for the ticket price and I definitely recommend going to see it if you can!

#DPJ #Dunedin Performance Journal #Indian Ink #Kiss The Fish #Mayfair #Dunedin #Theatre #Review

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‘The Cape’ makes for a touching story.

Counterpoint’s latest production of The Cape by the wonderful New Zealand playwright Vivienne Plumb is a fun and emotional road trip that follows four young men on their drug-fuelled quest to see the sunrise over Cape Reinga. Set in the 1990’s and tracing a path through the North Island, the play adds a hefty dose of nostalgia to the story of boys on the cusp of becoming men, as they tip between childish fixations and adult situations, dreaming of their futures while struggling to capture a last perfect moment together from their pasts. Bronwyn and the boys have done well to portray this balance between child and young adult, and it was clear there was real affection between the cast, although there were some moments that felt like missed opportunities that could have helped the piece build some tension. The set was an enjoyably messy construction that nicely framed the script while remaining abstract enough to represent a range of different locations with little effort, but it was nevertheless relatively sparse, as was the clean and simple lighting and sound design which meant the weight of the script rested on the shoulders on the four actors to engage the audience throughout the performance with their joking, teasing, anecdotes and poems. The cast generally worked well together. They developed a wonderful conversational rhythm, and any anachronisms in the script were smoothed over by their easy banter. Ben McCarthy’s expressive and energetic physicality as Eb is fun to watch throughout while providing enough depth to ensure the character didn’t become a caricature, though towards the end of the show we can certainly sympathise with the remaining three characters who were locked in a car with him for a few days. There were times when the rest of the cast could have met this energy and fell short, leaving a few lines to fall flat. Will McGrath as the ‘resident adult’ Arthur is a solid anchor for the rest of the cast and did well in often expressing himself with only a nod of the head. I would have liked to see his eventual loss of control and its consequences for the group hit with greater impact, as it would have done more to drive the play. Nick Tipa felt a little forced at times as Mo, though he comes into his own with some of the heavier emotional punches and his scenes with David Stock, as the newcomer Jordyn, provided a lovely warmth to the piece and some of my favourite moments. David himself played a commendable awkward outsider, though his self-assurance contrasted with his (at times unnecessarily) aggressive interactions with the group, made him one of the harder characters to sympathise with. The Cape has plenty of genuinely funny moments, and often the audience was laughing alongside the cast. The different emotions were nicely contrasted within the scenes, and the genuine friendship between the boys made it nearly impossible not to develop affection for them all. Though it was slow to build, the show did eventually reach a climax and the final scene was an especially touching one, as I found myself hanging on Tipa’s last monologue, caught up in the boys’ dreams for what could (and should) be, in the never-very-distant future. Altogether this was a solid and enjoyable piece from Counterpoint, and I hope to only see them grow from here.

#dpj #Dunedin Performance Journal #theatre #review #dunedin #Counterpoint #Bronwyn Wallace #The Cape #Vivienne Plumb #Nick Tipa #Ben McCarthy #David Stock #Will McGrath

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High standard set by first ever Fortune/Uni of Otago collaboration

Punk Rock kept me on the edge of my seat from start to finish. The timing of this show is simply immaculate as all of the elements come together seamlessly to create a show that brings the audience on a journey that is always unexpected, full of sexual tension, power battles, and of course, unexpected turns!

Ripeka Templeton as Lily is captivating in the early scenes as we see her youthful manipulation of the males around her drive the action for the first few scenes. Her onstage chemistry with Jared Kirkwood, who plays William drew us all in so that when things shift later in the show, it feels like an emotional bomb is going off.

This is placed in tandem with Hamish Annan as Chadwick, and Lana Walters as Tanya, the underdogs of the show who ultimately become the ones we all empathise with and care about the most. Annan had the entire audience cheering in the aisles as the normally shy and demure Chadwick finally decides to stand up for himself and it is truly beautiful.

The entire cast works perfectly as an ensemble as the playful energy of Ailis Oliver-Kerby as Cissy, and Andrew Coshan as Nicholas contrast perfectly with the massive physical presence of Bennett, played by Taylor Barrett. And while we don’t like Bennett’s character for the majority of the play, the scene between him and Nicholas near the end is extremely touching, and Barrett forced the audience to empathise with an extreme bully – something I think is very hard to do.

The mood of this play is quite dark, but there are moments of humour littered throughout that make all of the characters seem very human and very relatable. The design elements all come together to support this, the school library environment that is constantly changing as time passes slowly digresses as each scene progresses so that as the characters evolve, so too does the space that they inhabit, and as the space becomes full of litter and debris it seems to reflect how broken some of the characters feel. The costumes compliment this perfectly, the simple and crisp school uniforms seem to remain flawless as the characters within them begin to disintegrate.

This production was a collaboration between The Fortune Theatre and The University of Otago Theatre Studies Programme which I think is an absolute credit to both institutions. The use of young and local talent combined with the slightly more seasoned professional actors makes this a truly unique and wonderful production that does not disappoint in any way! A simply flawless performance that is an absolute must see!

#dpj #dunedin #dunedinperformancejournal #Fortune Theatre #theatre #university of otago #punk rock #review

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The War Play

The world premiere of The War Play shows off a script with plenty of potential, but maybe this premiere came a little early.

Phillip Braithwaite’s new script brings to light a hidden family story, that of Jack Braithwaite, a man who brought shame on his family and descendants for his actions during WW1 – this play shows us there is more to that story than anyone ever knew.

The stage itself cuts a reasonably striking picture - a central triangle juts into the playing space, echoing the way Jack’s story penetrates this family. Sadly much of the action becomes confined to this space. There’s a whole stage to play with, and for much of the show two thirds of it are under utilised. The set elements also felt a little confusing; so much of the show is pretty abstract in terms of space (and better for it), so the fact that the team worried about making naturalistic living rooms felt odd – particularly the fireplace, which I think is only used once, to hold a couple of glasses.

The cast seem to make a fair go of it all, but I can’t help but feel like they needed a couple more weeks in the rehearsal room. Simon O’Connor stands out in his variety of roles, but particularly as the two fathers. His characterisation is strong, and he’s a joy to watch. The other men have a mix of hits and misses throughout the show, but it was the hamminess of Jonathan Martin’s Jack that bugged me the most. His character felt so much bigger than the others, like a caricature almost. His softer moments however, when the audience got to see behind the mask, really hit home, he was able to bring some real sincerity to the role; I just wish we’d had more of those moments.

The script itself also has hits and misses. The story as a whole is engaging, particularly in the centenary year of the Gallipoli landings, but with more time to workshop it further I’m sure the script could be even better. At its core is something brilliant, and it would be nice to see it refined further, some material needs to be removed to concentrate what is so great about this story.

Some of Roy Ward’s directorial choices seem to be incongruent with what I feel the script is trying to achieve. Ward seems to dilute some of the emotional impact that this play is full of. There are two moments in particular that I had issue with - the first being Phil listening to the voicemails left by his father. I really wanted this to feel like a punch in the guts, but the voiceover used in this scene left it feeling a little flat. The second is right at the end of the show, when Jack is reading out a particularly gut wrenching letter. This should have had so much more impact than it did; all the audience wants is for Jack to look at us, make that contact with us – I mean that’s why we go to the theatre right? The human contact? But he just keeps looking at that piece of paper. I don’t know if Ward thought this made the moment personal and introspective, but I do know that it’s the moment that has stuck with the most after leaving theatre, but that’s because I still can’t figure out why he didn’t look up.

The War Play as whole, feels like a work in progress, and I’m a little disappointed by that. The story at the heart of it is great but it does feel like it’s been rushed to the stage. Hopefully Braithwaite gets an opportunity to workshop this further. All The War Play needs is some tough love - bring out what’s important and cut the rest. I know if someone gives it that treatment, I’ll be first in line to buy another ticket.

The War Play runs until April 18 at the Fortune Theatre

#dpj #Dunedin Performance Journal #Fortune Theatre #The War Play #theatre #review #dunedin #Phillip Braithwaite #Roy Ward