Inner Voices

Old Fitz Theatre, June 17

Damien Strouthos in INNER VOICES (c) Ross Waldron

Damien Strouthos as Ivan. Photo: Ross Waldron

Written in 1977, Inner Voices was one of Louis Nowra’s earliest plays and signalled the arrival of an Australian playwright with an exciting imaginative scope and a keen sense of theatre.

The play premiered at Nimrod directed by John Bell with a cast including Tony Sheldon, Robert Alexander and Jane Harders. It hasn’t been staged professionally in Sydney again until now, presented at the Old Fitz Theatre by Don’t Look Now in association with Red Line Productions.

It’s fascinating to see the play in the light of Nowra’s The Golden Age, written in 1985, which was staged earlier this year by Sydney Theatre Company. While The Golden Age is a more expansive, ambitious play, the seeds of Nowra’s brilliantly roving theatricality are already evident in Inner Voices: a play bursting with ideas and savage wit.

Inner Voices is inspired by the life of Ivan VI, who was born in 1740. At just two months old he was proclaimed Emperor and his mother named Regent. However, a year later a distant cousin seized the throne and Ivan and his family were imprisoned. Kept in isolation for around 20 years, which impacted on his mental health, a group of officers led by Vasily Mirovich plotted to free Ivan in 1764 and put him on the throne, ousting the ailing Catherine the Great. However, Ivan was killed by his guards. Nowra takes these basics but imagines what would have happened had Mirovich been successful.

The play begins in Ivan’s cell where isolation has taken a severe toll.  Unable to talk other than to chant his own name, he appears to be “an idiot”. The rapaciously ambitious Mirovich – a man with a gargantuan appetite for food as well as power – believes that Ivan will be easily manipulated once they get him on the throne, but things don’t go to plan, with Ivan quickly turning tyrant.

Phil Rouse directs a wonderful muscular production with first-rate production values. Anna Gardiner’s dungeon-like set with ladders and metal rails, Martelle Hunt’s period-inspired costuming, Sian James-Holland’s sickly lighting and Katelyn Shaw’s nerve-jangling sound design combine to create a dark, threatening environment.

Damien Strouthos is superb as Ivan, changing the way he holds his mouth to alter the sound as Ivan’s ear adjusts to human voices and he gradually learns to speak, and also evolving the character’s body language. It’s a minutely observed performance physically, emotionally and psychologically.

Julian Garner and Anthony Gooley in INNER VOICES (c) Ross Waldron

Julian Garner as Leo and Anthony Gooley as Mirovich. Photo: Ross Waldron

Anthony Gooley is extremely funny yet still menacing as Mirovich, a grotesquely comic character in an ever-expanding fat suit. The rest of the cast are all on-point: Julian Garner as Mirovich’s unfortunate co-conspirator, Annie Byron as Mirovich’s long-suffering, genial servant, Emily Goddard as the fake Princess Ali and Baby Face, the showgirl who becomes Ivan’s chosen lady, along with Francesca Savige and Nicholas Papademetriou in supporting roles.

Examining power and its abuse, as well as the psychological and emotional impact of isolation on people, Inner Voices is a darkly funny, provocative play given a very meaty, satisfying production.

Inner Voices plays at the Old Fitz Theatre until July 9. Bookings: oldfitztheatre.com

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2015: The Year That Was in Sydney Theatre

Looking back over the 167 productions (theatre, musicals, dance, opera and cabaret) I saw in 2015, there was some terrific mainstage theatre but it was in the independent sector this year that many of my real highlights occurred. There were some outstanding performances across both, including a number of unforgettable solo turns.

As for musicals, the commercial scene was generally much more impressive than last year, thanks to a couple of exceptional productions, while independent musical theatre continued to thrive led by the invaluable Hayes Theatre Co. Not only did the Hayes shine a light on many little known shows and talented, emerging performers but it also provided the opportunity for several impressive directorial debuts.

So, here goes with my personal highlights for the year.

MUSICALS

Matilda the Musical

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“When I Grow Up” in Matilda. Photo: James Morgan

 Tim Minchin and writer Dennis Kelly took the irreverent genius of Roald Dahl and made it sing on stage in Matilda The Musical, one of the most original and exciting new musicals in ages. The Royal Shakespeare Company production is an inspired piece of theatre and the Australian cast did it proud, thrilling adults and “maggots” alike. James Millar was a hoot as the monstrous Miss Trunchbull and Elise McCann was a quietly radiant Miss Honey, while the four young girls who played Matilda – Molly Barwick, Bella Thomas, Sasha Rose and Georgia Taplin – did a fine job, as did all the children in the cast.

Les Misérables

Cameron Mackintosh’s 25th anniversary production arrived in Sydney after its Melbourne season and stormed the barricades once more. Stellar turns by Simon Gleeson as Valjean and Hayden Tee as Javert gave the production a profound emotional power and Kerrie Anne Greenland made a powerhouse professional debut as Eponine.

The Sound of Music

Julie Andrews’ portrayal of Maria in the film of The Sound of Music is indelibly imprinted in most people’s mind. But Amy Lehpamer made the role her own with a sensational performance that confirms she is, without question, one of the stars of Australian musical theatre.

Amy Lehpamer, Stefanie Jones and child cast in The Sound of Music (c) James Morgan

Amy Lehpamer, Stefanie Jones and the child cast in The Sound of Music. Photo: James Morgan

Lehpamer has been riding a wave for a while now, and showing what an incredibly versatile performer she is. This year alone she has played Janet in The Rocky Horror Show (one of the few good things in a horribly glib production, with Craig McLachlan giving a shamelessly indulgent performance as the hammiest, least sexy Frank N Furter I’ve ever seen), followed by the glamorous Tracy Lord in High Society and now Maria in The Sound of Music. Coming after lovely performances as Christine Colgate in the musical comedy Dirty Rotten Scoundrels and the sassy, fiddle-playing Reza in Once, Lehpamer shows she has got the lot.

This revival of The Sound of Music is a scaled-back version of one first seen at London’s Palladium in 2006 and while some of the sets look less than lavish – the hills are hardly rolling in the opening scene – it’s still a lovely production. Jacqui Dark’s humane portrayal of the Mother Abbess and soaring rendition of Climb Ev’ry Mountain is another highlight.

INDEPENDENT MUSICALS

Once again, some fabulous indie musicals emanated from the Hayes. Leader of the pack for me, by a whisker, was Violet, closely followed by Heathers, Dogfight and High Society, while Man of La Mancha was a high in a patchy year for Squabbalogic.

Violet

Blue Saint Productions - Violet - Grant Leslie Photography

Samantha Dodemaide as Violet. Photo: Grant Leslie

Mitchell Butel made a brilliant directorial debut at the helm of Violet. He displayed a sure, sensitive touch, keeping the action flowing, the different time frames clear, and the focus where it needed to be.

He also drew truthful, beautifully delineated performances from a well-chosen cast led by Samantha Dodemaide, who glowed as Violet, a young woman who crosses the US by bus hoping that a televangelist will heal a disfiguring scar on her face. Everything about the production was spot-on ensuring that the sweet, gently charming musical knocked you for six emotionally without ever becoming corny.

Heathers the Musical

 Trevor Ashley also directed his first musical this year at the Hayes, and showed that he too has got what it takes. His high-energy production of Heathers the Musical leapt off the stage at you and he pitched the dark, camp comedy just right. Jaz Flowers brought a surprising depth to Veronica while belting the hell out of her songs, Lucy Maunder was very funny as queen bitch Heather Chandler and there were impressive debuts from Stephen Madsen as the psychopathic, James Dean-like J.D. and Lauren McKenna as the bullied Martha and loopy, New Age teacher Ms Fleming.

Dogfight

 Like Violet, Dogfight is a sweet, tender little musical though it spins around a vile prank, causing some to find the show misogynistic. Director Neil Gooding handled this sensitively, clearly showing why the young marines are so full of pumped-up machismo. Hilary Cole as the gauche young waitress Rose and Luigi Lucente as Eddie, the marine who tricks her then falls for her, moved me to tears.

High Society

High Society got a mixed response but I very much liked Helen Dallimore’s production ingeniously staged by Lauren Peters in the tiny Hayes. Daryl Wallis’s jazz quartet arrangements worked a treat, Amy Lehpamer shone as Tracy, while Virginia Gay gave one of the musical theatre performances of the year as Liz, the newspaper photographer quietly in love with her colleague Mike (Bobby Fox). Her performance was full of lovely, surprising little details, her comic timing was immaculate and she knew exactly how to deliver Cole Porter’s songs.

Gay

Virginia Gay and Bobby Fox in High Society. Photo: Kurt Sneddon

Man of La Mancha

Jay James-Moody’s inventive, low-tech staging of Man of La Mancha was a highlight of Squabbalogic’s 2015 season. Set entirely in a prison dungeon (set by Simon Greer, costumes by Brendan Hay), the gritting reimagining brought new life and emotion to the somewhat hoary old musical. Having the cast play various musical instruments also worked well. At the heart of the production, Tony Sheldon’s Cervantes was dignified, frail and very moving.

MUSICAL ON THE HIGH SEAS

Priscilla, Queen of the Desert

 The Norwegian Epic, a cruise liner sailing around the Mediterranean, is known for its entertainment and is currently staging terrific productions of Priscilla and Burn the Floor in its 750-seat theatre. Priscilla stars several Australians among its international cast. Rohan Seinor is sublime as Bernadette bringing enormous warmth, humanity and wit to the role, while Joe Dinn anchors the show as an endearing Tick. I must declare that I went to see my son Tom Sharah, who is a very sassy Miss Understanding. Staged by Australians (director Dean Bryant, choreographer Andrew Hallsworth, costume designer Tim Chappel) it’s a sparkling production – Priscilla, Queen of the Ocean!

MAINSTAGE THEATRE

After Dinner

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Helen Thomson, Rebecca Massey and Anita Hegh in After Dinner. Photo: Brett Boardman

Sydney Theatre Company began the year with a pitch-perfect production of Andrew Bovell’s excruciatingly funny yet tender comedy After Dinner, set in a 1980s pub bistro. Alicia Clements’ set was spot-on down to the icky carpet and yellowing tiles on the wall, while her costumes were 1980s fashion at its hilarious worst. Imara Savage directed a superb cast who had you laughing uproariously yet feeling for the sad, loner characters.

The Present

2015 was Andrew Upton’s last year as artistic director of STC (though he has programmed the 2016 season, which incoming artistic director Jonathan Church will caretake). The Present was a wonderful parting gift. Adapted by Upton from Chekhov’s early, sprawling play Platonov but set in the mid-1990s with the main protagonists now in their mid-40s rather than their 20s, the blistering production was awash with yearning, regret and frustration – as well as plenty of gun shots. Helmed by Irish director John Crowley, there were superb performances all round from the top-notch ensemble cast, which included Cate Blanchett and Richard Roxburgh giving the performance of his career.

Endgame

 Upton also directed an engrossing production of Beckett’s bleak but surprisingly funny absurdist play Endgame for STC. Staged on an imposing, monumental set by Nick Schlieper that reeked of foreboding (beautifully lit by Schlieper too), Hugo Weaving gave a masterful performance as Hamm, mesmerising with the dynamic range of his voice. Dark and difficult but thrilling stuff.

Suddenly Last Summer

Also at STC, Kip Williams directed a highly inventive production of Tennessee Williams’ Suddenly Last Summer, which synthesised live performance and video more completely than we have seen previously on the Sydney stage. Not everyone was convinced but after a slow start, I found the production worked its magic to deliver an intense telling of the surreal, dreamlike play. Among a strong cast, Eryn Jean Norvill was exquisite as Catharine who is administered the “truth drug” to reveal the details of her cousin’s terrible death.

Ivanov

Belvoir’s new artistic director Eamon Flack got the balance between comedy and despair just right when he directed his own adaptation of Chekhov’s Ivanov, set in contemporary Russia. Ewen Leslie was compelling as the self-loathing Ivanov but all the cast gave a very human account of people struggling to get by in a society obsessed with self and money. They sang with great vitality too in a production full of music.

My Zinc Bed

Mark Kilmurry, the Ensemble’s incoming artistic director, helmed an elegant production of David Hare’s My Zinc Bed, an intriguing play of ideas centring on addiction and driven by Hare’s heightened use of language. Sean Taylor was magnificent as the suave, Mephistophelian Victor, hinting at the emptiness within.

The Tempest

For his final production as artistic director of Bell Shakespeare, the company he founded 25 years ago, John Bell directed a lyrical production of The Tempest, staging the romantic tale of forgiveness and reconciliation with an eloquent simplicity and deft lightness. Matthew Backer was spellbinding as the spirit Ariel, his singing evoking the magic in the isle.

INDEPENDENT THEATRE

Of Mice and Men

OfMice

Andrew Henry and Anthony Gooley. Photo: Marnya Rothe

 Iain Sinclair directed a beautiful, understated production of John Steinbeck’s Of Mice and Men for Sport for Jove that felt utterly truthful. Andrew Henry as the simple-minded Lennie, a gentle giant unaware of his own strength, and Anthony Gooley as his loyal friend George broke your heart. The off-stage shooting of the dog reduced some to tears too.

The Aliens

In Annie Baker’s The Aliens, about a couple of slackers in their 30s who take a younger man under their wing, not much seems to happen but plenty bubbles away beneath the surface. Craig Baldwin’s direction, Hugh O’Connor’s design and the performances by Ben Wood, Jeremy Waters and James Bell made for a deeply affecting piece of theatre.

The Aliens was just one of several memorable productions staged at the Old Fitz. It was great to see the tiny pub theatre in Woolloomooloo flying high again under Red Line Productions. There was a focus on male issues and casts in their 2015 program, which they have acknowledged and plan to address in 2016, as has Darlinghurst Theatre Company in the wake of debate about the gender imbalance in Australian theatre.

Cock

Red Line Productions presented a taut production of Mike Bartlett’s provocatively named play Cock about a love triangle between two men and a woman. Shane Bosher’s production, staged on a gleaming white stage, crackled with tension, with Michael Whalley and Matilda Ridgway turning in particularly fine performances.

The Dapto Chaser

Mary Rachel Brown’s keenly observed play The Dapto Chaser, presented as part of Griffin Independent, is an unflinching, extremely funny yet poignant look at the world of greyhound racing through the story of one struggling family. Glynn Nicholas’s production felt utterly authentic and the way the family’s dog Boy Named Sue was evoked through mime and panting noises was just brilliant.

SOLO SHOWS

2015 was notable for several excellent solo theatre shows.

Thomas Campbell gave a tour de force performance as the disturbed evangelistic Thomas Magill in Enda Walsh’s demanding play Misterman in a superb production directed by Kate Gaul at the Old Fitz.

Kate Cole was remarkable in the Red Stitch Actors Theatre production of Grounded by George Brant, playing a ‘top gun’ fighter pilot who finds herself flying drones after she has a child and struggling to deal with the schism between operating in a war zone one moment then driving home to family life. Extraordinary theatre.

Belinda Giblin in Blonde Poison (c) Marnya Rothe

Belinda Giblin in Blonde Poison. Photo: Marnya Rothe

Belinda Giblin turned in a riveting performance as Stella Goldschlag, a blonde Jewish woman living in Berlin during World War II who worked for the Gestapo, in Gail Louw’s unsettling, provocative play Blonde Poison directed by Jennifer Hagan at the Old Fitz.

Amanda Muggleton charmed audiences at the Ensemble with an exuberant, generous, comic performance in Roger Hall’s highly entertaining play The Book Club about a bored housewife looking to spice up her life. Muggleton was in her element as she conjured all the women in the book group as well as other characters.

Ben Gerrard also slipped effortlessly between a number of characters and accents as Charlotte von Mahlsdorf, a Berlin transvestite who survived the Nazis, giving a lovely subtle performance in Doug Wright’s play I Am My Own Wife directed by Shaun Rennie at the Old Fitz.

Jeanette Cronin gave a very lively impression of Bette Davis in Queen Bette, which she devised with director/producer Peter Mountford, capturing her clipped way of speaking and fierce presence while taking us through her life at the Old 505 Theatre.

Irish actor Olwen Fouréré gave an astonishingly expressive performance, physically and vocally, in Riverrun, her adaptation of James Joyce’s fiendishly difficult Finnegan’s Wake with its own language, at Sydney Theatre Company.

CABARET

My pick of the cabaret shows I saw this year are:

Josie Lane’s Asian Provocateur

JosieLane

Josie Lane. Photo: supplied

An outrageously funny, sweet, ballsy and, yes, provocative, piece by a little dynamo-of-a-performer who is, as she puts it, of an “Asian persuasion”. Taking us through her life and career, Lane was hysterically funny but had serious points to make about prejudice and narrow-minded casting.

Phil Scott’s Reviewing the Situation

A cleverly written and structured piece (co-written by Scott and director Terence O’Connell) taking us through the rags-to-riches-and-back-again story of British composer Lionel Bart. Scott embodied the Cockney Bart brilliantly and gee did his fingers fly across the piano keys.

Tim Freedman’s Everybody’s Talkin’ ‘bout Me

Looking suitably shambolic, Freedman took us into the mind and musical world of the enigmatic, self-destructive Harry Nilsson. Co-written by Freedman and David Mitchell, the show felt convincingly conversational in tone, while Freedman deployed his own innate charm in a winning bio-cabaret.

OPERA

 Faust

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Nicole Car and Teddy Tahu Rhodes in Faust. Photo: Lisa Tomasetti

 Sir David McVicar’s production is impressive in its own right but it was the central performances by Michael Fabiano, Nicole Car and Teddy Tahu Rhodes that made the Opera Australia production so exciting.

Car – a young Australian soprano who made such an impression with her radiant performance as Tatyana in last year’s Kasper Holten’s production of Eugene Onegin for OA – confirmed her extraordinary talent. In her role debut as Marguerite, her singing had a sweet, luscious beauty and was full of emotion. She is also a strong actor, her early innocence every bit as convincing as her later anguish. Towards the end of 2015, Car made her debut at the Royal Opera House, Covent Garden as Micaela in Carmen, followed by a return to Tatyana, receiving rave reviews. A rising star indeed.

Other memorable productions in OA’s 2015 season included the revival of Elijah Moshinsky’s Don Carlos with Ferruccio Furlanetto as Philip II, Latonia Moore, Diego Torre and Jose Carbo; and McVicar’s new production of The Marriage of Figaro with Taryn Fiebig as Susanna and Nicole Car as the Countess.

DANCE

Frame of Mind

Only six companies in the world have been allowed to perform William Forsythe’s sublime contemporary dance classic Quintett – and Sydney Dance Company showed why they are one of the chosen few. Paired with a moving new work by Rafael Bonachela called Frame of Mind, this thrilling double bill was contemporary dance at its most exhilarating.

The Sleeping Beauty

Artists of The Australian Ballet in David McAllister's The Sleeping Beauty. 2015. photo Jeff Busby_0

Artists of the Australian Ballet in The Sleeping Beauty. Photo: Jeff Busby

 Lavishly designed by Gabriela Tylesova, The Australian Ballet’s new production of The Sleeping Beauty is breathtakingly beautiful.

Created by artistic director David McAllister, it’s a very traditional production with McAllister retaining key passages of Marius Petipa’s original choreography and devised linking material in a similar classical style.

The storytelling is crystal clear, with elements incorporated from other versions, but the production feels a bit safe at times with room for more dramatic tension between the forces of good and evil. Visually though, it’s a triumph. Tylesova’s sumptuous sets feature baroque and rococo elements, while her costumes use an intoxicating range of colour and feature some of the prettiest tutus imaginable. Lana Jones as Aurora, Kevin Jackson as the Prince and Amber Scott as the Lilac Fairy all shone at the Sydney opening, while Chengwu Guo and Ako Kondo lit up the stage as the Bluebird and Princess Florine.

 Conform

 At Sydney Dance Company’s showcase of emerging choreographers New Breed, Kristina Chan’s Conform was an exciting highlight. A punchy piece about masculinity, it has its own distinctive choreographic voice and plenty to say. Chan is already a thrilling dancer. I can’t wait to see her next choreographic venture.

Departures

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Susan Barling, Patrick Harding-Irmer, Anca Frankenhaeuser, Ross Philip and Ken Unsworth. Photo: Regis Lansac

Australian Dance Artists (Susan Barling, Anca Frankenhaeuser, Patrick Harding-Irmer, Ross Philip and Norman Hall) collaborated again with eminent sculptor and artist Ken Unsworth on a new production called Departures. Part-performance, part-installation, with live music, it was a fascinating ride into a strange world full of stunning visual imagery and evocative choreography. Magical.

RISING STARS

Amy Lehpamer (see The Sound of Music), Nicole Car (see Faust) and Kristina Chan (see above) are all rising stars with talent to burn. Add to that list Australian Ballet dancer Benedicte Bemet. Few were surprised when Bemet won the 2015 Telstra Ballet Dancer Award. Still only 21 and a coryphée, she is already dancing lead roles for the Australian Ballet like Clara in The Nutcracker. She made her debut recently as Aurora in The Sleeping Beauty and apparently the audience went wild, giving her a standing ovation after the Rose Adagio and at the final curtain. I predict a big future.

That’s it folks! There are so many other things I enjoyed during 2015 – too many to include here. Wishing you all a Happy New Year and lots of happy theatre-going in 2016.

 

Of Mice and Men

Reginald Theatre, Seymour Centre, July 16

Andrew Henry and Anthony Gooley. Photo: Marnya Rothe

Andrew Henry and Anthony Gooley. Photo: Marnya Rothe

Iain Sinclair has directed a production of John Steinbeck’s Of Men and Men for Sport for Jove that feels heartbreakingly truthful.

Steinbeck himself adapted the play from his classic 1937 novella set during the Depression. Two itinerant ranch workers George Milton (Anthony Gooley) and Lennie Small (Andrew Henry) have been roaming California looking for work. To keep them going, George inspires Lennie with the dream that one day they will buy their own property (from some elderly folk he knows) where they will keep a few animals including Lennie’s longed-for fluffy rabbits.

The trouble is that Lennie is a bit soft in the head. A gentle-minded giant who doesn’t know his own strength, he keeps petting small animals to death. Arriving at a farm, George tells Lennie to say nothing, keep his head down and do what he says in the hope that they will be left alone and all will be well. And Lennie so wants to do the right thing but when situations conspire against him, he just can’t help himself.

Sinclair has directed a beautiful, understated production that unfolds at an unhurried pace, while still building the feeling of inexorable tragedy. It is a clear, empathic reading that strikes at the heart, while the play feels as timely as ever given the vast numbers of displaced, disenfranchised, struggling people the world over.

Michael Hankin’s set design – a wooden slatted wall, four long wooden poles and a dirt floor with wood chips, along with basic wooden beds, tables and crates – feels just right, while Sian James-Holland’s lighting creates changing moods and captures the passing of time.

Sinclair has cast it perfectly – right down to the poor old dog, which is taken out and shot because it is stinking up the place. It’s a tense moment as we wait, seemingly for ages, to hear the shot – foreshadowing things to come.

Laurence Coy, Anthony Gooley and Andrew Henry. Photo: Marnya Rothe

Laurence Coy, Anthony Gooley and Andrew Henry. Photo: Marnya Rothe

Henry gives an unforgettable performance as Lennie. He is a tall man and naturally slim but he stacked on around 20 kilos for the role. It certainly gives him a sense of bulkiness, emphasised by the way he stands very squarely and solidly when still, feet planted apart, and lumbers around the stage in his dirty overalls.

He also captures Lennie’s naivety beautifully with a slightly bemused expression. When something delights him, he gives this childish little jump of joy accompanied by a beatific smile. At times, it’s almost unbearably touching, knowing what’s coming.

Gooley balances him perfectly as the loyal, steady George who battles constant frustration but stands by Lennie through thick and thin. The two of them really do convey the feeling of a long-standing relationship and of great love.

They are surrounded by an impressive ensemble: Christopher Stollery as Slim, a decent man with natural authority, Laurence Coy as Candy, an old-timer who has lost one hand and who allows himself to dream of a better future with George and Lennie, John McNeil as the bullish Carlson, Tom Stokes as the young, inexperienced Whit, Andre de Vanny as the boss’s aggressive son Curley, Anna Houston as Curley’s unhappy wife, Terry Serio as the Boss (who also plays some guitar blues), and Charles Allen as the segregated black worker Crooks.

Running around two hours and forty minutes including interval, the production keeps you gripped throughout. As it moves to its shattering conclusion you can feel people holding their breath. On the night I saw it there was a long silence at the end – a mark, I think, of how deeply affected people were.

Of Mice and Men plays at the Seymour Centre until August 1. Bookings: www.seymourcentre.com or 02 9351 7944

The Crucible

Bella Vista Farm, Baulkham Hills, December 13

Julian Garner (centre) as John Proctor. Photo: Seiya Taguchi

Julian Garner (centre) as John Proctor. Photo: Seiya Taguchi

The historic barn at Bella Vista Farm makes an atmospheric, rustic setting for Sport for Jove’s powerful production of Arthur Miller’s classic play.

Set in the repressive, Puritan community of Salem, Massachusetts during the 1692 witch-hunt, the play was Miller’s horrified response to Senator McCarthy’s anti-communist crusade in 1950s America.

A number of young women have been spotted dancing naked in the woods. In order to protect themselves from certain punishment, they point the finger at others, suggesting witchcraft at work. As accusations lead to more and more hangings, other motives come into play including jealousy and revenge.

Damien Ryan keeps the play in the 17th century but under his clear, beautifully measured direction the themes of fear-mongering, hysteria, sexual repression and a community turning on itself strike strong chords in today’s world.

Ryan and designer Anna Gardiner create a pressure-cooker environment with the audience close to the action, seated on three sides around a dimly lit central wooden stage lined with hundreds of candles in jam jars (lighting by Sian James-Holland). A hanging platform is cleverly used as a bed, dining table and courtroom seating. Gardiner’s dark costuming is also very effective.

Julian Garner leads a solid ensemble cast of 20 as flawed hero John Proctor, conveying an intelligent, decent man who frequently flares with fiery impatience, while also struggling with the guilt that wracks him having had a fling with Abigail while his wife Elizabeth was sick.

Georgia Adamson is compelling and touching as the deeply honest Elizabeth, imbuing her with more warmth than she is frequently portrayed. Lizzie Schebesta plays Abigail, the ringleader of the girls, as a wilful, calculating flirt, lapping up the sudden attention and power.

There are also standout performances from Matilda Ridgway as Mary Warren, who now works for the Proctors in the wake of Abigail’s dismissal and, while becoming quite a little Madam, finds herself caught between strong opposing forces, Philip Dodd as the pompous, hard-line Judge Danforth and Anthony Gooley as the more reasonable, well-meaning Reverend Hale.

The decision to lead the audience out of the barn for the final scenes dissipates the tension somewhat, but overall Ryan helms a beautifully wrought, thought-provoking and harrowing production.

Bella Vista Farm, Baulkham Hills until December 30, Everglades Gardens, Leura, January 11 – 25. Information and bookings: www.sportforjove.com.au

A version of this review ran in the Sunday Telegraph on December 21

A Doll’s House

Reginald Theatre, Seymour Centre, July 26

Matilda Ridgway and Francesca Savige. Photo: Seiya Taguchi

Matilda Ridgway and Francesca Savige. Photo: Seiya Taguchi

When Ibsen’s A Doll’s House premiered in 1879, the door that Nora slammed behind her at the end of the play sent out shock waves.

It’s not going to generate the controversy that it did then – not in our society anyway – but this finely tuned Sport for Jove Theatre Company production keeps you on the edge of your seat.

As for the play’s relevance, you don’t need to look further than the all-too-regular news stories about men threatening, even killing wives and children, as a result of ugly separations to know that many women still find themselves trapped by men, circumstances and lack of money.

Director Adam Cook takes a traditional approach with a period production that is faithful to Ibsen. It’s clearly been staged on a relatively tight budget but it is so beautifully paced and performed that it reverberates with a clarity and truthfulness that is utterly absorbing.

Hugh O’Connor’s simple set features a plain back wall, inset with three doors, which becomes slightly translucent under certain lighting (Gavan Swift) so that we glimpse the comings and goings of the characters. Carefully chosen pieces of furniture suggest the period, along with O’Connor’s costuming.

Matilda Ridgway’s lovely performance as Nora is at the heart and soul of the production. Initially she is giddily girlish as she plays at being the doll-like wife and little songbird her husband Torvald so frequently refers to. But as reality intervenes in way Torvald would never have thought possible, and the bars of her gilded cage seem to close ever tighter around her, a different Nora begins to emerge. Her final stance is deeply moving.

Ridgway’s face is wonderfully expressive as emotion after emotion chases across it. She behaves in a slightly different way to each of the other characters – Torvald, her old friend Kristine Linde, who has fallen on hard times and arrives out of the blue hoping to find work now that Torvald has been promoted to head of the bank, family friend Dr Rank who has long been in love with Nora and is now facing death, the housemaid Helen who has effectively brought Nora up, and her young children.

And then there’s Nils Krogstad from whom Nora borrowed money to fund a year in Italy that saved Torvald’s life. Not only does Torvald not know where the money came from but Nora forged her father’s signature on the contract. Since then she has been struggling to pay the loan back without Torvald knowing. Now Torvald has decided to sack Krogstad from the bank and give his job to Kristine.

Douglas Hansell is excellent as the morally upright, pompous Torvald, who is misogynistic and domineering without ever realising that he is being anything but the perfect husband. Some of his comments about his wife’s role in life (namely to look after him and their children) triggered gasps from the audience, but Hansell plays it without becoming a one-dimensional villain. His love seems genuine even if he has no idea who his wife really is beneath the identity he has created for her.

Francesca Savige is quietly contained as Kristine who believes Nora needs to grow up and take responsibility for what she has done, Anthony Gooley is suitably creepy as Krogstad, while gradually revealing the troubled man beneath, Barry French is warmly genial as Dr Rank and Annie Byron touching as Helen.

Thom and Bill Blake are cute, cheeky, confident and convincing as Nora’s young sons (roles they share with fellow ATYP students Massimo Di Napoli and Noah Sturzaker).

From start to finish, the production keeps you riveted. At the performance I saw, a young woman behind us, who presumably didn’t know the play, was almost hysterical with excitement at the ending, which had clearly taken her by surprise and knocked her for six. Thrilling.

A Doll’s House is at the Seymour Centre until August 2.

All My Sons

Eternity Playhouse, November 5

Meredith Penman, Marshall Napier and Andrew Henry. Photo: Brett Boardman

Meredith Penman, Marshall Napier and Andrew Henry. Photo: Brett Boardman

Darlinghurst Theatre Company has christened the new Eternity Playhouse with Arthur Miller’s first commercially successful play, the gut-wrenching All My Sons from 1947 – and both the venue and the production have come up trumps.

The sensitive conversion of the newly restored Baptist Tabernacle, a 126-year old, heritage-listed building in Burton Street, Darlinghurst features a spacious timber foyer and a beautifully appointed 200-seat theatre with excellent sight lines and acoustics. It all feels fresh and welcoming, while original features such as the ornate ceiling and stained glass windows add to the venue’s charm.

Miller’s tightly plotted play resonates powerfully in the intimate space. Set in the aftermath of World War II, Joe Keller (Marshall Napier) and his wife Kate (Toni Scanlan) are living a life of suffocating denial.

Convicted for knowingly supplying faulty aircraft engine parts from his factory, which caused the death of 21 pilots during the war, Joe was subsequently exonerated leaving his business partner Steve to take the rap. Kate, meanwhile, clings to hope that her son Larry, a fighter pilot, is still alive despite having been missing for three years.

A sense of tragedy hangs over the play from the beginning, as Joe and Kate’s other son Chris (Andrew Henry) invites Larry’s former sweetheart Anne (Meredith Penman) to stay, hoping to marry her. Anne, who grew up next door, is Steve’s daughter.

When Anne’s brother George (Anthony Gooley) arrives, having just visited their father in jail, dark secrets are revealed leaving no possibility of a happy outcome for any of them.

Unlike many of the auteur, re-imagined productions of classics that we have seen in Sydney of late, Iain Sinclair directs a traditional production set in the period and using American accents, but it is fluent, well paced and beautifully performed, unfolding with the inexorable undertow of Greek tragedy.

Scanlan breaks your heart as the desperate, deluded, at times feverish Kate who dares not admit the possibility that her son is dead, while Napier convincingly conveys the gruff bonhomie covering a dark, gnawing secret.

Henry excels as the open-hearted Chris who longs to step out of Larry’s blighted shadow and live his own life, while Gooley ramps up the energy with a bristling anger as George.

On opening night, Penman brought a sparkling warmth to the role of Anne, but due to a major television opportunity has since been replaced by Anna Houston.

In the supporting roles, Sinclair (who plays a doctor as well as directing), Mary Rachel Brown, Briallen Clarke and Robin Goldworthy all acquit themselves admirably.

Luke Ede’s set works well enough and is subtly lit by Nicholas Rayment. Occasionally Nate Edmondson’s music feels a little too overtly manipulative emotionally as in a film score, particularly in the climactic scenes when it is distracting and unnecessary, but that’s a minor quibble.

Performed with an intense honesty, Miller’s timeless story about the link between commerce and war, and self-interest in the name of the family, still rings devastatingly true in this stirring production.

All My Sons runs at the Eternity Playhouse until December 1

 An edited version of this review ran in the Sunday Telegraph on November 10