Confusions

What could possibly go wrong was asked in the play bill for Spider’s Web. It’s a play by Agatha Christie performed at Theatre 3. It’s also described as “Classic Christie” and it fits as Classic Canberra Rep at their classic venue, Theatre 3. This takes me back in so many ways: the School of Arts buildings, art deco and once the first high school in Canberra; the low rise sprawl out the back bu the entrance to Theatre 3; Agatha Christie herself, one of a period, and challenging and jokey in a way that’s also dated; the Canberra Rep, founded in 1932 and with 550+ productions to its credit. There’s a joyous atmosphere in the place, a tiny entrance and an intimate performance space although with a generous stage, rotating to boot although not tonight. The performers are committed, the characters evident, the complexities were clear if tortuous. Suffice to say there’s a dead man found and eventually a murderer identified although any earlier hints at that bypassed me. But that’s the fun of the whole thing and it was fun and it was done perfectly well. Clever stuff if inconsequential. Nothing unexpected other than a murderer.

Agatha Christie Spiders web was performed at Theatre 3 by Canberra Rep featuring, amongst others, Sian Harrington (Clarissa), Adele Lewin (Mildred Peake), Terry Johnson (Sir Rowland) and Leo Amadeus (Inspector Lord) under Ylaria Rogers (Director).

Reverie of an era

Now is an era of climate and wars and Robodebt and populists and sometimes you just need a laugh and Home I'm Darling seemed amusing.  At least the title.  It's an award winning play performed by Canberra Rep at Theatre 3 and we finally got to the last night last night.  I was surprised to see a 2hr20min length (with an interval) but it didn't really seem so long in the end.  It was done well by our venerable company (91st year this year of Canberra Rep; congratulations due).  The cast was great.  Karina Hudson was exemplary as Judy, the housewife with a dream of domesticity and had a fabulously projected voice to carry it off.  Hubby Johnny had a less intense role but presented it authentically, especially the end-time resolution, and Mum and boss and friendly couple were all admirable.  But it was Judy/Karina who had the floor.  During the play Mum argues against playacting the '50s from a feminist POV, friend Fran dabbles in advanced housekeeping with vinegar and lemon juice and crystalised soda and her husband Marcus just dabbles and his partnership is suspended for dabbling in staff harassment and boss Alex is misunderstood then understands and finally helps solves the couples' problems and all is resolved in the end.  So, there was humour, yes, but not outright belly laughs.  And there was resolution, but a pretty obvious process and outcome.  So, I left somewhat underwhelmed, not by the production, for that was good, but by the play which was award winning.  I am not a regular theatre goer or even film watcher, but it seemed pretty tame to me.  Amusing, maybe; profound, not at all.  Should it have been?  I'll leave that to the theatre discriminates.  Maybe I should give up on therapeutic humour and return to climate or politics or something I better understand.  Or maybe The complete works of William Shakespeare (Abridged)[Revised] to end the year with Canberra Rep?  PS.  Some people just thought it was cute.

Canberra Rep presented Home I'm Darling at Theatre 3.  The cast were Karina Hudson (Judy), Ryan Street (Johnny), Natalie Waldron (Fran), Terry Johnson (Marcus), Adele Lewin (Sylvia) and Kayla Ciceran (Alex).

Birthdays and more lost

Now, this was a strange thing, No-one actually knew Wanda June, at least no-one in this family. She was in Heaven. It was her Birthday cake that appeared sometime during the first act. It was on sale and bought for a lost husband's birthday. WJ had just died in an accident and her parents hadn't picked up the cake. This was a play by Kurt Vonnegut of Slaughterhouse 5 fame and more. KV had been a POW outside Dresden when it was flattened by Allied bombing so he was early to be concerned with mass killings. The story was set in 1972 and some scenes some time before and in Heaven where time is immaterial. Apparently shuffleboard is all the rage there, with Wanda June and various military types. 1972 is just post hippies and Summer of Love and Vietnam so it was inevitable there was at least one peace necklace being worn, by a new-age doctor, Norbert Woodly. He's to be engaged to Penelope Ryan. PR has a son, Paul. Her husband, Harold, had been pronounced dead after being missing 15 years. He had been a seriously male ex-soldier and game hunter. PR was also being pursued by Herb Shuttle, a very successful vacuum cleaner salesman. He's the one who bought the cake ... for Harold's birthday. Harold had been lost in South America with his helicopter pilot buddie, Looseleaf Harper, famed for dropping the A-bomb on Nagasaki (the actual pilot was Charles W Sweeney flying the B-29 bomber called Bockscar). Suffice to say Harold and Looseleaf arrive home unexpectedly and all manner of unhappiness ensues. Strange play. Nicely done by our longstanding Canberra Rep company at Theatre 3 with sickly 70s-coloured scenery and costumes and relevant musical cues. But strange; interesting but strange. There's a final dust-up between Norbert and Harold, Harold the clever and confident man of arms and Norbert the new man carrying the power of words and emotions. It's not surprising (or, for that matter, convincing) how it turns out, but no spoiler. Perhaps the most touching part, in a play that speaks with irony rather than heart, is Looseleaf's turning at the end. And Penelope's singular strength and independence. So there's some good even if the world tends to death and Heaven.

Canberra Rep presented Happy Birthday Wanda June, a play by Kurt Vonnegut. Performers were Jess Waterhouse (Penelope Ryan), Nick Dyball (Paul Ryan), Michael Sparks (Harold Ryan), David Bennett (Looselead Harper), Rowan McMurray (Herb Shuttle), Peter Holland (Norbert Woodly), Jemima Phillips (Wanda June), Iain Murray (Major Monigswald) and Antonia Kitzel (Mildred Harper) under Cate Clelland (Director).

Aware of the little known

We all know Mack the Knife, and many know it's from Threepenny Opera. Canberra Rep is presenting TO now and we got along. I was apprehensive when I realised it was 3 hours long with two short intervals. And based on opera, although this is more musical theatre. A musical friends had seen it and said it was strange or weird. Certainly, it was unusual not Broadway, but neither is it non-Western. It's political, from the Weimar Republic era in Germany, after WW1, subject to reparations, preceding Depression then Hitler. And it's a strange mix of eras. The program notes "interesting challenge, with today's Australian actors; representing 1928 Berlin beggars; impersonating 1837 Victorian English exploiters and the exploited; based on the 1728 original Ballad Opera" but observes that there's a similarity in the eras including "to our time of an ever growing between the rich and the poor, and literally millions of displaced people searching for succour". The story is of a battle between Peachum, leader of the London street beggars, and Macheath (Mack the Knife), leader of the thieves and cad, but it's also recounts the centrality of women. It's all unlikely but entertaining and fairly easy to follow. The musical interludes are consistently satisfying, wily, politically-rich. There were some decent singers here, classically or theatre-trained and I could mostly follow the lyrics. The stage is open and unadorned, the fully-acoustic band (nonet?) appears on a raiser behind, sheets are run in for a screen at various times, a street singer introduces the work with talk and the famed theme, Mack the Knife, and consistently loiters. Almost as consistent is the capability of the women and the occasional capability of the men. Macheath himself is terribly well played and sung, if an unadmirable cad in the plot. Peachum is fabulously played and very cluey. His wife, Mrs, has a liking for gin, but is hugely capable when dry and a capable soprano. Their daughter, Polly, has the hots for Macheath (not the only women in his retinue) and their marriage is the source of the Peachums' revenge plot, but she comes onside with the family as Mack reveals his ways. Mack has an old Brit-Army-in-India mate, Tiger Brown, now Chief Inspector as Scotland Yard, who has been protecting the thief. Eventually Mack is revealed, gaoled, escapes, gaoled again and almost hung, then unexpectedly reprieved. No claim is made for probability and characters talk openly of this and the background politics of it all. This is Berthold Brecht lyrics and Kurt Weill music, so the total is clever, non-conformist and relevant. Some quotes: “What is robbing a bank compared to founding one?”, "Though the rich of this earth find no difficulty in creating misery, they can't bear to see it", "The law was made for one thing alone, for the exploitation of those who don't understand it" and this essential one "Grub first, then ethics". This was a witty piece of musical theatre from some great writers with a political conscience and done very capably by our longlife local company, Canberra Rep. Congrats and very much enjoyed.

Canberra Rep presented Threepenny Opera by Bertholt Brecht with music by Kurt Weill. Key performers were Tim Sekuless (Macheath), Peter Dark (Mr Peachum), Sarahlouise Owens (Mrs Peachum), Tina Robinson (Polly Peachum) and Jim Adamik (Tiger Brown). The band was the Threepenny Pits comprising Kristen Nilsson and Caleb Ball (reeds), Fatzana Choudhury, Keydan Bruse and Elaine Johnson (trumpets), Jack Adolph )trombone), Peter McDonald (tuba), Gabe Trew (drums), John Yoon (piano) and Ewan (harmonium).

Wondering on one history

Casanova is a legend, of course, a challenge for men and a dream for women. I guess. We went to see Canberra Rep's take on Casanova last night and it was a frolic (labelled "fast, fun, unforgettable") but even touching. They did a great job, busy, interesting, convincing, entertaining, great costumes and stage set and lots of that blast from the past, the rotating stage. It all worked. I'm not so much one for laughing at all this, but I admired it and it got me musing over Giacomo Casanova and the story. The show is presented as the old Casanova recounting his story to a chambermaid. There's even a seduction by the old man but it's more education than flirtation. I was taken by the young and old Casanovas and I could imagine they were one character. I even thought I could see similar facial structures (Megan doesn't agree). The young Casanova was attractive, energetic, playful and surprisingly respectful. It's not a picture we have. Core to the plot was a love story for Henriette who also rose from poverty and was locked into high marriage and duty. Marrying for love is a modern, post-romantic obsession of wealth and I wonder if this twisted the history we are presented with. A number of modern obsessions appear in the performance, even gay marriage, although the castrato who GC falls for turns out to be woman in disguise and amusingly GC had guessed that at the start. There's a duel with Henriette's wealthy, powerful, high-born husband and several scenes of debauchery and a coronary-inducing confession and a prison scene. But there's attractive honour and dignity in Casanova's love for Henriette and his advice to an illegitimate son (who he'd influenced without conscious guidance) and even a certain decency in his sexual conquests. This is the attractive side of GC and it was offered here. There's a scene where he is saying men don't talk with an implication of his awareness of, and attractiveness to, women. This attractiveness is intriguing and central. So, despite his notoriety, he's presented here as not just the raw and disrespectful seducer. I'm wary of believing history when portrayed in film and the like so I downloaded his memoirs (free online) but they are lengthy and I know I will never do other than skim some pages. But in the search, I learnt that "Casanova" (also Don Juan) as an adjective dates to Victorian days and I expect that's the source of our image of GC. The warning at the start of my downloaded "Rare unabridged London edition of 1894" typifies it: "Transcriber's Note: These memoires were not written for children, they may outrage readers also offended by Chaucer, La Fontaine, Rabelais and The Old Testament D.W." So, Casanova continues to appeal and to fascinate and the Canberra Rep performance did an excellent job in continuing that fascination in this town.

Casanova was directed Jarrad West for the Canberra Repertory Society. The play was adapted by Mark Kilmurry from the screenplay by Russell T Davies. The performers were Ben Russell (Casanova), Tony Turner (Older Casanova), Amy Dunham (Henriette), Riley Bell (Rocco), Steph Roberts (Edith), Bojana Kos (Bellino), Chris Zuber (Grimani) with an ensemble comprising Kate Blackhurst, Geoffrey Borny, Liz Bradley, Kayla Ciceran, Alice Ferguson, Sam Hannan-Morrow, Bradley McDowell, Emily Ridge, Teig Sadhana.

Spirits being sprightly

Blithe is carefree, jovial, even sprightly. Sprightly it was in Noel Coward's play, Blithe spirit. We saw the play last night and in no end of coincidences, I heard an ABCRN Hindsight program today about Noel Coward's visit to Australia during WW2. Such occurrences might have one thinking of the spiritual, and this is just the dismissive approach taken by the characters in Blythe spirit until the plot reveals itself. Husband, Charles Condamine, of second wife, Ruth, is taken aback when a seance brings his first, deceased, wife, Elvira, back into the house. Ruth is unaware of Elvira and takes umbrage at Charles, then accepts Elvira's presence; medium Madame Arcati is mightily proud of her success; Elvira plans to bring Charles to her spritely world and succeeds in killing Ruth instead so both deceased wives now pester Charles who promptly departs for his new wife-free life. Coward spoke of nothing similar in Australia; more about the English speaking world reviving Western Civilisation ... of which his light comedy is presumably one part. It's very English and frothy and of its time, but a part it is. I had a few good laughs and was mightily impressed by some of the vocabulary of these characters, and not just for the word blithe. This was a literate, wordy crowd, somewhat set in its ways (martinis, smoking jackets) but also expressing modernity (women smoking, suggestive quips, various affairs). BS was the latest production of Canberra Repertory in Theatre 3. It's a venerable company of amateurs that has been presenting theatre for yonks (estab. 1932). The acting and production values are good. M.Arcati was a blast; the wives were convincing and husband Charles was every bit the confused then divided then entertained husband, then the happily ex-. The scene was stock mid-century and the final poltergeistian flourish was homely and unexpected and a guffaw-making. This was a thoroughly enjoyable show of mid-C20th manners nicely presented and much enjoyed. Congrats to Canberra Rep.

Kate Blackhurst (Director) directed Noel Coward's Blithe Spirit at Theatre 3 for Canberra Rep with Peter Holland (Charles Condomine), Emma Wood (Ruth Condomine, Charles' second wife), Anita Davenport (Elvira Condomine, Charles' first wife and ghostly presence), Liz St Clair-Long (Madame Arcati, a medium), Don Smith (Doctor Bradman, a friend), Elaine Noon (Mrs Bradman) and Yanina Clifton (Edith, a maid)

A salon of their own

Six women meet in a beauty salon in a town in Louisiana. Truvy has had her garage converted to the salon. Her slogan is "There is no such thing as natural beauty " (it's good for business). She's in a little town. Annelle is doing Truvy's hair as the show begins, and she gets the job as Truvy's offsider. Annelle's quiet and needs a job. Daughter Shelby is getting married that day. Mother M'Lynn also comes to prepare for the wedding. There are a few stories - one of Annelle, which is oddly undeveloped, and mostly the story of Shelby - which wend through four scenes spread over a few years. There's sadness, intimacy, female friendship and support. There's also good humour, occasional short tempers, some fear and hope and discovery and most of all, quipping. These are friends but not too conspicuously. It's a small town. The wealthy Clairee eventually owns a radio station and expands her horizons with travel to NYC then Paris. Shelby and M'Lynn go through tragedy. Annelle is born again and she eventually finds accord with her more mainstream friends. I'd heard of the work from the movie with that mega cast - Sally Field, Dolly Parton, Shirley MacLaine, Daryl Hannah, Olympia Dukakis and Julia Roberts - but I hadn't seen it. The script was written by a man, living in NYC, following the death of his sister with diabetes, in just 10 days. The play was a buzz off Broadway and within a few years was filmed on location in the original town, Natchitoches. Here, Canberra Rep did it, and the Canberra Times gave it a great review, so we went. What thoughts? It's a pleasant drama with some depth and emotional resonances, so it's satisfying and presentable. I felt this was very, very well acted. The program gave a long list of acronyms and achievements, NIDA, WAAPA, STC, Q, Belvoir, All Saints, TV and more. Strangely, we are the salon's mirror and the cast often gazes at the audience. The accents were a test at first, and occasionally relaxed into Aussie nasal, but we got used to it soon enough. There are quips throughout, but not too many belly laughs from an Aussie audience. I'm not sure it's our style. This is wisecracking southern USA, somewhat parochial but nonetheless wise. I imagine our rural or smallish town life may be the similar. This is not Chicago or NYC or even Canberra but neither is it hick. This is women's wisdom, earthy, and wise and supportive. Author Robert Best was interviewed and spoke of steel magnolias as beauty made in very strong stuff. And of southern women as "while gorgeous, they are fragile and bruise easily" but with "a tensile strength stronger than anything [he] could muster". I understand. These are wise but wisecracking women and impressive. As was the Rep performance.

Steel Magnolias was performed for Canberra Rep by Karen Vickery (M'Lynn), Nell Shipley (Shelby), Amy Dunham (Annelle), Judi Crane (Ouiser), Liz Bradley (Clairee) and Rose Braybrook (Truvy) under Jordan Best (director).

Amongst the bushes

Speaking in tongues is the theatrical show that became the film Lantana. Much to the disappointment of my wife, I’m not a great film-lover, but I was mightily impressed by Lantana when I saw it. For once, this was an Australian film with a decent script, set in modern Australia, with an intriguing and adult-oriented plot and that wasn’t merely visual.

A play has to be presented differently from a film. This was. It’s a complex plot, with scenes happening in various locations and ongoing unexpected crossings of path by the various couples making up the cast. The first part shows us two couples working through the outcome of one consummated and another unconsummated liaison. It’s cleverly portrayed with unison speeches that highlight predicaments in modern marriage. One couple works it out, the other’s less successful, and paths variously cross when couples negotiate and male and female partners meet in different bars and clubs. The second half sees three more couples: one broken relationship with a pining male and non-committing female; one pained with a wife damaged by a history of child abuse and who then goes missing; the husband of another relationship who is questioned for the murder of the woman who’s disappeared. It’s complex and convoluted and thematically rich. It plays with your expectations and presumptions and leaves topical matters undecided. It even leaves the ultimate resolution undecided, although by implication the plot resolution is clear. The core theme was trust in marriage but there’s more: how people love, how they communicate, rekindling passion, giving emotional support. It’s also noticable that all parties were essentially good-willed despite the affairs. And that they were muddling through, although often not a textbook fashion. It’s a plot of tortuous interactions that explores themes by action and dialogue rather than overt discussion, and I’m still mulling over that title. I also imagine it’s a play for mature audiences with years of marriage under their belts. That’s not to say younger audiences won’t understand it, but I doubt they would feel it quite the same way. A stimulating play and well pesented by Canberra Rep, our local amateur theatre society that is now in its 80th year! Congratulations and best wishes to our august theatre company.

Speaking is tongues was directed by Ross McGregor and featured Rob de Fries (Leon), Helen McFarlane (Sonja), Duncan Ley (Pete), Lainie Hart (Jane), Bridgette Black (Valerie), Eliza Bell (Sarah), Sam Hannan-Morrow (Nic), Raoul Craemer (Neil) and Zach Raffan (John).

Fate and the Bard

It was a week of Shakespearean coincidences last week. I viewed a video remake of Macbeth from the BBC ShakepeaRe-told series then attended a Canberra Rep production of Humble boy, a recent play on a Hamlet theme. But the strange thing was meeting Duncan during the interval who warned me of naming “The Scottish Play”. Spooky! Not really, but the plays were interesting.

The Macbeth was one of a series of four BBC TV plays. These were retellings in modern guise, with new script, in different surroundings, but basically following the plot of the original. And as you’d expect from today’s Britain, this was clever and engrossing. Joe Macbeth is the sous chef and Ella, Joe’s wife, is Maître d' for the Michelin 3-starred restaurant of celebrity chef Duncan Docherty. Committed chefs Joe and Billy Banquo are upset that Duncan gets the credit and his son Malcolm will get the business. Three rubbish collectors appear with predictions and deaths follow, and Joe must beware of head waiter Peter Macduff. Ring any bells? Beautiful stark imagery, clever interpretation and clear parallels. With TV like this you can really believe in a Cool Britannia.

The Hamlet derivative was an award-winning play that premiered in London around 2004. Felix Humble’s father has died. His mother, Flora, is planning an overhasty marriage to George Pye (the future Humble-Pyes). She was an ex-model with a taste for the good life who married a bright but mild schoolteacher with training in biology and who kept a well weeded garden and had a passion for bees. Felix, estranged from his mother, is an astrophysicist with a nervous stutter. There are various twists around old lovers (presumably Rose as Ophelia, but much more steady), an unknown daughter, the father’s ashes (Yorick’s skull?), the meek neighbour Mercy (Polonius?), Jim the gardener as the ghost and references to bumblebees and black holes and even to Glen Miller. It was entertaining and sometimes touching, and clever, especially if you know its source, Hamlet. The cast was James Scott (Felix), Naoné Carrel (Flora), Helen Vaughan-Roberts (Mercy), Jason Savage (Jim, the gardener), David Bennett (George Pye) and Jodi McAlister (Rose, George’s daughter). Humble Boy was written by Charlotte Jones and directed by Corille Fraser for the Canberra Repertory Society. Another clever piece of English literary art.