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

Swings

“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

STC_AfterDinner_PhotoBrettBoardman_BP_9294

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

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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

CarRhodesFaust

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.

 

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Endgame

Roslyn Packer (formerly Sydney) Theatre, April 7

Tom Budge and Hugo Weaving. Photo: Lisa Tomasetti

Tom Budge and Hugo Weaving. Photo: Lisa Tomasetti

In 2013, Andrew Upton stepped into the breach when Tamas Ascher withdrew from directing Samuel Beckett’s Waiting for Godot for Sydney Theatre Company.

In his place, but working with Ascher’s assistant Anna Lengyel and using Zsolt Khell’s set designed for Ascher, Upton helmed a superb production with Hugo Weaving as Vladimir, which goes to London in June.

Upton and Weaving have now collaborated on an equally impressive production of Beckett’s Endgame – often considered a companion piece to Godot – with Weaving both performing and involved as associate director.

The post-apocalyptic, absurdist drama has four characters trapped in a room waiting for death essentially. The controlling Hamm (Weaving) is blind and confined to a wheelchair. His mistreated servant-son Clov (Tom Budge), who is crippled and can’t sit down, scurries around looking after him, while threatening to leave.

Hamm’s amputee parents Nagg (Bruce Spence) and Nell (Sarah Peirse) live in two dustbins – here dirty old oilcans, suggesting environmental disaster.

Clov periodically climbs a ladder to peer through two windows at the nothingness on land and sea outside, while there are glimpses of a normal life in times past through Nagg and Nell’s memories of boating and cycling.

It’s bleak but the writing is brilliant, laced with unexpected humour and devastating insights as Beckett looks deep into the agony of being human.

The Beckett Estate is famously rigid, requiring productions to stick to the letter of Beckett’s very specific stage directions. Upton and set designer Nick Schlieper have come up with an imposing, monumental staging that abides more or less faithfully with Beckett’s requirements but makes for a far more threatening space than a bare, grey-lit room.

Hugo Weaving and Tom Budge. Photo: Lisa Tomasetti

Hugo Weaving and Tom Budge. Photo: Lisa Tomasetti

Schlieper cleverly reduces the width of the stage to create a more intimate focus, while a towering, dark grey wall looms forebodingly over them. It looks like a fortified stone lighthouse, in which various windows and doors have been filled in, while the thickness of the wall is visible when the curtains are opened at the two remaining windows.

Because the wall is so high, disappearing from sight, Clov requires a long ladder to reach the windows, rather than the usual “small stepladder”, which adds to the comedy of his daily ritual.

Renee Mulder’s gloriously grubby, shabby costumes are full of wonderful little details. Clov wears boots most of the time but at one point he has a grungy rabbit slipper on one foot, as just one example. It’s all beautifully lit by Schlieper, with reflections dappling the wall, while dripping water (sound by Max Lyandvert) can he heard.

Weaving is in masterful form as Hamm. Legs tied and wearing opaque glasses, his face and arms, and even his tongue at one point, are wonderfully expressive but it’s his extraordinarily eloquent voice that mesmerises, so full of different textures, tones and sounds: velvety one minute, snarling the next. His Hamm is a tyrant but with a jaunty, fruity presence and a wry sense of humour. It’s a compelling performance.

Budge’s performance is all about body language. Bent-over, he performs with a robustly comical physicality. The way he removes the sheet covering Hamm, or climbs the ladder, or interacts with Hamm, suggests well-oiled routines he has developed over time to fill the endless, empty days, while his attempt to get rid of a flea in his pants is priceless.

Sarah Peirse and Bruce Spence. Photo: Lisa Tomasetti

Sarah Peirse and Bruce Spence. Photo: Lisa Tomasetti

The appearance of Spence’s elongated face, caked in white make-up, is a hilarious sight when his head emerges from the oilcan and he and Peirse tug at the heart as Nagg and Nell.

Endgame is almost unbearably bleak but at the same time surprisingly funny. Upton and his fine cast find that balance perfectly in an engrossing, lively, moving production.

Endgame plays at the Roslyn Packer Theatre until May 9. Bookings: www.sydneytheatre.com.au or 02 9250 1777

A version of this review appeared in the Sunday Telegraph on April 12

Macbeth

Sydney Theatre, July 25

Hugo Weaving as Macbeth. Photo: Brett Boardman

Hugo Weaving as Macbeth. Photo: Brett Boardman

The casting of Hugo Weaving as Macbeth and the decision of director Kip Williams to turn the Sydney Theatre back-to-front make this Sydney Theatre Company production one of the hottest tickets of the year.

Weaving does not disappoint, giving a passionate, compelling performance, but the production itself waxes and wanes somewhat.

Entering the theatre, the audience is led to a seating bank on the stage for 360 people who sit facing the eerily empty 900-seat auditorium. On stage in front of you stands a long trestle table with a few props (a plastic tub of water, a ruff, a wig, a crown and on the back of one chair a red velvet gown with ermine collar).

It looks like a rehearsal room and when the actors appear casually dressed in contemporary street wear and begin performing seated at the table under a general lighting state, that’s exactly what it feels like. It’s a slow start.

Kate Box, Paula Arundell, Robert Menzies, John Gaden and Eden Falk. Photo: Brett Boardman

Kate Box, Paula Arundell, Robert Menzies, John Gaden and Eden Falk. Photo: Brett Boardman

It’s not until after the death of Duncan (John Gaden) when fog fills the stage and sound and lighting start to transform the space that excitement levels begin to rise.

It’s a valid enough conceit to have the full theatricality only kick in once Macbeth has sealed his fate and begun his descent into a nightmarish world full of bloody horror. It’s just that the early stage business feels a bit silly. The witches (Kate Box, Ivan Donato and Robert Menzies) dunk their heads in the tub of water, blow bubbles and then recite their lines while dripping. As an image for the boiling cauldron it comes up short.

Having Melita Jurisic in a plastic rain mac, chugging on a cup of blood and then dribbling it down her front as the wounded Captain reporting from the battle also comes across as gimmicky.

But as Duncan lies dead, the production starts to hit its stride. The actors bang their hands on the table, Max Lyandvert’s visceral sound design picks up on the drumming and amplifies it tenfold, the stage fills with fog, the lighting changes and we’re off.

The stunningly staged banquet scene with candles, flowers and place settings comes as a relief. Having the murdered Banquo (Paula Arundell) sit at the table has been done before, of course, but it works exceptionally well.

There are some other wonderful effects – the sudden fall of a black curtain not far from us, isolating Macbeth from the world beyond, for example, and later Macbeth strobe-lit in battle. There is also an extended fall of shimmering “rain”, which inevitably recalls the golden shower in Benedict Andrews’s production of The War of the Roses in the same venue. But, no matter, it’s incredibly beautiful and very effective.

Hugo Weaving. Photo Brett Boardman

Hugo Weaving. Photo Brett Boardman

Under Nick Schlieper’s lighting, the auditorium does become a haunting, ghostly backdrop. Williams doesn’t stage many scenes there but those that he does work well. Banquo is chased through the auditorium and murdered in the stalls. When Macduff (Kate Box) goes to England to beg Malcolm (Eden Falk) to return to Scotland, their encounter takes place at the front of the circle while Macbeth stands silhouetted on stage.

Many liked Williams’ restraint in not using the auditorium too much; I liked what he did with it but felt he could have used it a little bit more.

The costumes by the show’s designer Alice Babidge come across as rather ad hoc without a unifying style. The street wear is uninspiring, despite odd touches like the ruff and kingly robe, and Jurisic’s Lady Macbeth dress is downright drab and unflattering. It’s a shame the costuming doesn’t develop more as the rest of the production builds theatrically. That said, when Babidge does go for a flourish with the final image of Malcolm being dressed in doublet and hose for his coronation, it sits oddly.

The play is performed by an ensemble of eight, all of whom double except for Weaving. The acting is a little uneven with a range of vocal styles.

Weaving gives a magnetic performance that focuses on Macbeth’s interior torture. He spits and snarls as he gives physical and emotional expression to the conflict that rages within him between vaulting ambition, doubt, fear, ruthlessness and fleeting regret. His anguish is utterly palpable.

Hugo Weaving. Photo: Brett Boardman

Hugo Weaving. Photo: Brett Boardman

As Lady Macbeth, Jurisic is so febrile and intense from the start that she almost leaves herself nowhere to go. Like Weaving, her vocals are rich and mellifluous but in starting at such a pitch, some of her dialogue is lost by the time she plays the mad scene.

Gaden handles the language with effortless eloquence, as ever, and is very touching as Macduff’s young son in a moving scene with Arundell as Lady Macduff. Box is also impressive, bringing a quiet dignity to the role of Macduff.

In the end, however, the production – which runs a tight two hours without interval – is set around the mesmerising performance of Weaving. The back-to-front staging doesn’t make any strong comment on the play but proves to be an atmospheric backdrop and Weaving’s performance is thrilling.

Macbeth plays at Sydney Theatre until September 27. Most performances are sold out. A few tickets were released yesterday so check with the box office on 02 9250 1777. Otherwise a limited number of Suncorp $20 tickets go on sale at 9am each Tuesday for the following week either in person at the Wharf Theatre box office or on 02 9250 1929

A version of this review ran in the Sunday Telegraph on July 27

2013: The Year That Was

December 31, 2013

The last day of 2013 seems a good time to look back over what happened on the boards during the last 12 months. Here are some personal arts highlights from Sydney theatre predominantly: productions and people that will live on in my memory long past tonight’s Sydney Harbour midnight firework display heralding a new year.

MUSICAL THEATRE

Tony Sheldon, Katrina Retallick and Matt Hetherington in Dirty Rotten Scoundrels. Photo: Kurt Sneddon

Tony Sheldon, Katrina Retallick and Matt Hetherington in Dirty Rotten Scoundrels. Photo: Kurt Sneddon

It was a pretty patchy year in musicals. My two out-and-out highlights were The Production Company’s Gypsy in Melbourne and Dirty Rotten Scoundrels in Sydney.

Gypsy

Caroline O’Connor was phenomenal as Rose, giving us everything we’d hoped for and so much more: a stellar, unforgettable performance that was both monstrous and heartbreaking. For me, it was the musical theatre performance of the year.

Dirty Rotten Scoundrels

Matt Hetherington was impressive as Herbie in Gypsy but really came into his own with a superb performance as the vulgar Freddy Benson in Dirty Rotten Scoundrels. Co-starring with Tony Sheldon – who made a welcome homecoming from the US as the suave Lawrence Jameson, a part tailor-made for him – Scoundrels was a delightful, perfectly cast, stylish, laugh-out-loud production. Amy Lehpamer shone as Christine Colgate and Katrina Retallick was riotously funny in a scene-stealing performance as Jolene Oakes (after another scene-stealing turn in The Addams Family earlier in the year). Scoundrels was a real feather in the cap for up-and-coming producer George Youakim. The show deserved to sell out but despite reviews your mother might write, it struggled at the box office. Instead Sydney audiences opted for the familiar, even when reviews were much less favourable.

Squabbalogic

Confirming its growing value to the Sydney musical theatre scene, indie musical theatre company Squabbalogic led by Jay James-Moody enlivened things immeasurably with terrific productions of Bloody Bloody Andrew Jackson and Carrie with Hilary Cole making an impressive debut as Carrie.

Jesus Christ Superstar

The British arena production starring Tim Minchin, Mel C and Ben Forster really rocked with Tim Minchin in commanding form as Judas – giving a superstar performance, in fact.

ELSEWHERE IN MUSICALS….

The Lion King proved just as stunning visually a second time around but the first act felt flat with the dialogue scenes slowing the action, not helped by some underpowered performances. However, Nick Afoa made a promising debut as Simba.

Premiering in Melbourne, King Kong was an ambitious production and the puppetry used to create Kong himself was breathtaking. In fact, Kong the creature was awesome, the musical’s book less so. Esther Hannaford was lovely as Ann Darrow.

Lucy Maunder was the standout in Grease, owning the role of Rizzo. Her moving rendition of “There Are Worse Things I Could Do” was the emotional and musical highlight of the production.

Michael Falzon as Leo Szilard. Photo: Gez Xavier Mansfield Photograph

Michael Falzon as Leo Szilard. Photo: Gez Xavier Mansfield Photograph

Michael Falzon was in superb voice as physicist Leo Szilard in new musical Atomic, giving a beautifully wrought performance. In fact, the entire ensemble was terrific. Written by Australian Danny Ginges and American Gregory Bonsignore (book and lyrics) and Australian Philip Foxman (music and lyrics), the structure of the musical could do with some honing but the show has great potential.

I also enjoyed Jaz Flowers and Bobby Fox in the 21st anniversary production of Hot Shoe Shuffle. And what a treat to be able to see Kristin Chenoweth and Idina Menzel in concert at the Sydney Opera House within 10 days of each other.

THEATRE

It was an impressive year in Sydney theatre both in the mainstream and independent sectors with a large number of excellent productions and performances. Never has the discussion among the Sydney Theatre Critics in the lead-up to the Sydney Theatre Awards (to be presented on January 20 at Paddington RSL) been so protracted, agonised and, at times, heated.

Among my own personal highlights were:

Waiting for Godot, Sydney Theatre Company. Directed by Andrew Upton after an injured Tamas Ascher was unable to fly to Australia, this was a mesmerising production full of tenderness, humanity, pathos and humour to match the bleakness. Richard Roxburgh, Hugo Weaving, Philip Quast and Luke Mullins were all exceptional. Wow to the power of four.

Hugo Weaving, Philip Quast,  Richard Roxburgh and Luke Mullins in Waiting for Godot. Photo: Lisa Tomasetti

Hugo Weaving, Philip Quast, Richard Roxburgh and Luke Mullins in Waiting for Godot. Photo: Lisa Tomasetti

The Secret River, Sydney Theatre Company. Eloquently staged by director Neil Armfield, Andrew Bovell’s stage adaptation of Kate Grenville’s novel used both English and the Dharug language to tell the story movingly from both sides.

Rosencrantz and Guildenstern are Dead, Sydney Theatre Company. Another fabulous STC production starring Toby Schmitz and Tim Minchin, directed by Simon Phillips on a brilliant set by Gabriela Tylesova that played with optical illusion.

Angels in America, Belvoir. Staging Parts One and Two, this marvellous production directed by Eamon Flack confirmed that Tony Kushner’s play is a truly sensational piece of writing that sweeps you up in its epic vision. The fine cast included Luke Mullins, Amber McMahon, Marcus Graham and Mitchell Butel – all superb. (Mullins also gave a fine performance in Kit Brookman’s Small and Tired Downstairs at Belvoir. What a year he’s had).

The Floating World, Griffin Theatre. A devastatingly powerful production of John Romeril’s classic Australian play directed by Sam Strong. Peter Kowitz’s performance left you utterly gutted. Valerie Bader was also excellent.

The Motherf**ker with the Hat, Workhorse Theatre Company. The independent scene was unusually strong in Sydney in 2013 and this was one of the real stunners. Directed by Adam Cook in the intimate space at the TAP Gallery, the tough play kept you on the edge of your seat. Troy Harrison and Zoe Trilsbach gave riveting, grittily truthful performances. If you missed it, the production has a return season at the new Eternity Playhouse in September.

Cyrano de Bergerac, Sport for Jove. Sport for Jove’s outdoor Shakespeare productions are now a highlight on the Sydney theatre calendar. Damien Ryan’s production of Edmond Rostand’s sweeping, romantic comedy Cyrano de Bergerac was gloriously uplifting with an inspiring, verbal tornado of a performance by Yalin Ozucelik as Cyrano.

Lizzie Schebesta and Yalin Ozucelik in Cyrano de Bergerac. Photo: Seiya Taguchi

Lizzie Schebesta and Yalin Ozucelik in Cyrano de Bergerac. Photo: Seiya Taguchi

Jerusalem, New Theatre. A wonderful production of Jez Butterworth’s brilliant play directed by Helen Tonkin that has justly snared a large number of nominations at the Sydney Theatre Awards.

Penelope, Siren Theatre Company. Kate Gaul directed a tough, challenging, indie production of Enda Walsh’s play, set in the bottom of a drained swimming pool, which riffs on the ancient myth. Another clever use of the small TAP Gallery, here playing in traverse.

Sisters Grimm. It was great to see the acclaimed, “queer, DIY” Melbourne company in Sydney with two of their trashy, gender-bending, outrageously funny productions: Little Mercy presented by STC and Summertime in the Garden of Eden as part of Griffin Independent. A hoot, both of them. (How drop dead beautiful was Agent Cleave in Summertime in drag and beard?). Can’t wait to see their production of Calpurnia Descending at STC in October.

All My Sons, Eternity Playhouse. The beautiful new Eternity Playhouse, a gorgeous 200-seat venue now home to the Darlinghurst Theatre Company, opened its doors with a fine, traditional production of All My Sons directed by Iain Sinclair with great performances all round, among them Toni Scanlan and Andrew Henry.

OTHER OUTSTANDING PERFORMANCES….

Besides those mentioned above I loved Sharon Millerchip in Bombshells at the Ensemble, Lee Jones in Frankenstein also at the Ensemble, Cate Blanchett in The Maids for STC, Paul Blackwell in Vere for STC, Ewen Leslie in Rosencrantz and Guildenstern are Dead and in Hamlet at Belvoir (where he took over from Toby Schmitz whose performance I also liked very much), John Bell as Falstaff in Bell Shakespeare’s Henry 4 and Damien Ryan as Iago in Sport for Jove’s Othello.

OPERA AND BALLET

The Ring Cycle, Opera Australia. I was lucky enough to see The Ring Cycle in Melbourne. It was my first Ring and I was utterly thrilled by it. Numerous visual images will stay with me forever as will performances by Terje Stensvold, Stefan Vinke, Susan Bullock, Warwick Fyfe and Jud Arthur among others. As is his forte, director Neil Armfield brought the relationships to the fore and found enormous emotion and humanity. Conductor Pietari Inkinen, who took over at short notice, harnessed the musical forces superbly. A very special experience.

David Hansen and Celeste Lazarenko. Photo: Keith Saunders

David Hansen and Celeste Lazarenko. Photo: Keith Saunders

Giasone, Pinchgut Opera. At the other end of the spectrum, small-scale, indie company Pinchgut delivered a sparkling production of Francesco Cavalli’s baroque opera with countertenor David Hansen dazzling in the title role.

Cinderella, Australian Ballet. Alexei Ratmansky’s beautiful, witty Cinderella was a joy with some meltingly lovely pas de deux for Cinderella and her Prince, divinely performed by Leanne Stojmenov and Daniel Gaudiello. Jerome Kaplan designed the gorgeous costumes and some clever surrealist staging effects.

VISITING PRODUCTIONS AND ARTISTS

How lucky we were to see Angela Lansbury and James Earl Jones in Driving Miss Daisy, the National Theatre’s brilliantly bonkers production of One Man, Two Guvnors, Kneehigh Theatre’s Brief Encounter, the Paris Opera Ballet’s exquisite Giselle, Semele Walk at the Sydney Festival, which gave Handel’s oratorio a wacky twist in a catwalk production with costumes by Vivienne Westwood, and firebrand soprano Simone Kermes singing with the Australian Brandenburg Orchestra.

There was much, much more. Barry Humphries‘ Weimar cabaret concert for the Australian Chamber Orchestra, for example. In the end, too much good stuff to mention it all.

And now, bring on 2014….

Richard Roxburgh interview

Richard Roxburgh chats about Waiting for Godot, Cyrano de Bergerac and Rake.

Hugo Weaving and Richard Roxburgh in Waiting for Godot. Photo: Lisa Tomasetti

Hugo Weaving and Richard Roxburgh in Waiting for Godot. Photo: Lisa Tomasetti

In a case of life imitating art, Richard Roxburgh and Hugo Weaving spent the first seven days of rehearsal not only waiting for Godot but waiting for Hungarian director Tamas Ascher.

As in Beckett’s play, he never appeared. Ascher couldn’t make the trip to Australia because of a back injury so Andrew Upton ended up directing the Sydney Theatre Company’s superb production, now playing, in which Roxburgh plays Estragon to Weaving’s Vladimir.

“For the first week it was ‘waiting for Tamas’ so the overlaps between rehearsals and the play (meant) there were all these hilarious moments,” says Roxburgh. “I wonder if it’s ever happened before, the director not turning up.”

It was while Ascher was directing Roxburgh and Weaving in STC’s acclaimed production of Uncle Vanya, which toured to the Lincoln Center Festival in New York, that the idea of doing Godot was born.

“We were rehearsing the scene between Astrov (Weaving) and Vanya (Roxburgh) when Vanya has disgraced himself with the pistol and he’s whinging about his life. It’s one of those unfortunately funny moments. We shared a cigarette as we sat there moping and Tamas just burst out laughing and said, ‘It’s Estragon and Vladimir,’” recalls Roxburgh.

“That’s where the whole idea came from so it was strange to do it without Tamas. I suppose for the first week we were (second-guessing what Ascher might have done). We know Tamas well enough and Anna Lengyel his translator was in the room. She’s a dramatist in her own right and incredibly intimate with his work and methods and style and modes of thinking. But then when it become clear that Tamas wasn’t coming, Andrew had to step up and make decisions so that became another part of the process.”

Roxburgh has never seen Beckett’s landmark, absurdist play but is thrilled to be performing in a production of it – particularly with Weaving.

“It’s obviously one of those plays that you know and I’d always hoped I would find the right environment to do it in and so when it cropped up it was perfect. Hugo and I have such a great chemistry and such great fun together,” he says. “There’s a reliability to that relationship that feels like it could be fleshed out in different ways.”

The two leading Australian actors have known each other a long time. “I essentially became an actor because of seeing Hugo,” says Roxburgh.

“I saw him play Toby Belch in his third year touring production of Twelfth Night when he was at NIDA. It toured to Canberra where I was at university and seeing what he did in that (inspired me). I can remember the production. There were some really fine actors in his year but his Toby Belch was just this landmark of a thing. It was so full of the joy of performance and not without subtlety that I just thought, ‘God, whatever that is I would love to have a piece of that in my life.’

“That really stuck with me. I think the first time we worked together was when I ended up casting him as Warburton, the homeless priest character in a production of That Eye, the Sky that I did in the Sydney Festival years ago. Then we cast him in the first episode of (ABC-TV series) Rake. Then we did Vanya, so we’ve always been in touch.”

Roxburgh says that during Godot rehearsals it wasn’t the play’s bleakness or abstraction that he found tricky but the way Beckett is “dealing with an entirely invented world in a way that doesn’t conform to the ordinary rules of society. Conversation, emotional logic, all of those thing that we kind of adhere to and that you operate within in a normal play aren’t there or if they are they are interspersed so it’s like you get refracted elements of those things throughout. That’s really a bitch to get hold of. It doesn’t conform to the usual rules. There’s no kind of essential narrative logic or emotional logic running through it so getting it into your head is hard. People always say ‘how do actors learn lines?’ Normally you think ‘that’s nonsensical, that’s just what we do’ but in this case it was so hard.”

Although the play is bleak and steeped in what Roxburgh describes as “a kind of apocalyptic sadness”, it is also very funny, with the STC production finding a great deal of humour.

“(Beckett) was pulling a lot from the energy and the dynamism of vaudeville, from the Marx Brothers and Buster Keaton. All of that energy is in the play as well,” says Roxburgh. “I’m sure there have been incredibly bleak, depressing versions of this play but that’s not the version we are doing.”

Next year, Roxburgh plays Cyrano de Bergerac for the STC (November 11 – December 20); something he suggested to the company.

“It’s a beautiful story that I absolutely love. I’ve always wanted to do it so I talked to them about it,” he says. “I thought Jeremy Sims did a really beautiful Cyrano here (at STC in 1999 directed by Marion Potts) as a kind of chamber piece, which I couldn’t have imagined prior to seeing it but I thought it was really great. But we are going to do a large-scale thing, which I think is great for the gallantry and the fun and the majesty of it.”

Meanwhile, Roxburgh returns to our television screens in February as Cleaver Greene, the brilliant but incorrigible, womanising, self-destructive criminal barrister in the third series of Rake – the award-winning ABC comedy-drama series, which he co-created, produces and stars in.

A US remake starring Greg Kinnear as the barrister, now called Keegan Deane, and Miranda Otto as his ex-wife will begin screening in January.

Roxburgh says that he wasn’t interested in playing the role in the US. “There would have been a great reason to do it financially but I suppose I felt that I have done my Cleaver and if I did one that I had to compromise on or that I didn’t feel I had as much creative control over, I would have hated it. And so in the end we thought it was much safer to say that we get somebody fantastic in America to do it – and I think Greg Kinnear is fantastic. I can’t think of anyone better to do Cleaver over there.”

Asked why the character has been renamed, Roxburgh grins. “That was at my insistence. I just thought, ‘he can’t have Cleaver’. Cleaver is named after the mayor of the town I grew up in – Cleaver Bunton, who was the mayor of Albury. There’s something about that that’s terribly personal and that was part of the fun of the original imagining of the thing.”

Filming for Rake in Australia wrapped just a couple of weeks before rehearsals for Godot began. Roxburgh admits he would have liked to have had a break after “the intensity” of Rake. “But luckily my character in Godot has to look hideous and aged and exhausted and spent so it’s perfect!” he quips.

“But I do need to have time off (after Godot) to get my batteries back in order. It was very hard this year (shooting Rake). We didn’t have (co-creator/writer) Peter Duncan. He and Andrew Knight wrote the scripts but Peter was working on the American one so he was over there. So on a day-to-day basis the ten phone calls I would have had with him in the previous series saying, ‘rewrite this, this doesn’t work, I can’t say that, this doesn’t make sense’ couldn’t be had so we had to find a way of getting through that this time, which made it exponentially more tricky. Thank god for (director) Jessica Hobbs who was really extraordinary and stepped up to do a lot of that work.

“But it was tricky because we knew where the bar had to be and we knew we couldn’t do something sub-optimal. And you know when it’s right. You can feel it, you can hear it, so when it wasn’t you just couldn’t let that go. It actually made this season so much harder but I think it’s worked. I think it’s paid off and it’s absolutely beautiful this season.”

Roxburgh confirms that the forthcoming Australian series will be the last.

“I do think you could continue to take Cleaver on all kinds of magical mystery tours,” he says. “I feel like he’s this character you could put in a jungle in Borneo and see what would happen and there would be fun to be had with that. But we were always determined to leave it with grace and dignity and leave people wanting more rather than less. It got to a point where we were having to massage story lines because they were too similar to ones we had already done.

“And also I suppose I want to see what else I’ve got,” says Roxburgh. “Having said that, I’m going to miss Cleaver terribly because I absolutely love that character. There’s so much of my clown in Cleaver and I will miss him.”

Waiting for Godot plays at Sydney Theatre December 21. Bookings: 9250 1777. Read my review here: https://jolitson.com/2013/11/25/waiting-for-godot/

An edited version of this story appeared in the Sunday Telegraph on November 3

Waiting for Godot

Sydney Theatre, November 16

Hugo Weaving and Richard Roxburgh. Photo: Lisa Tomasetti

Hugo Weaving and Richard Roxburgh. Photo: Lisa Tomasetti

It’s just three years since Ian McKellen and Roger Rees toured here in a British production of Waiting for Godot that played up the vaudevillian theatricality in Samuel Beckett’s extraordinary, absurdist drama, with Vladimir and Estragon relating to each other like a well-oiled comedy duo.

Now comes a Sydney Theatre Company production starring Richard Roxburgh as Estragon and Hugo Weaving as Vladimir that undoes you emotionally in a far more profound way. The comedy is still there, beautifully so ­– though less self-consciously vaudevillian – but beneath both the humour and the existential bleakness is great tenderness, humanity, pathos and a disarming sense of caring.

Even the oppressed Lucky (Luke Mullins) gently wipes the face of his tyrannical master Pozzo (Philip Quast), having helped him to his feet at they prepare to depart in Act Two. It’s an incredibly touching moment that takes you completely by surprise and has you suddenly re-evaluating their relationship.

The production was to have been helmed by Hungarian director Tamas Ascher, who directed Roxburgh and Weaving in the STC’s acclaimed 2012 Uncle Vanya. When an injury left him unable to fly, Andrew Upton stepped into the breach, with Ascher’s assistant Anna Lengyel as his associate, and directs a production of great clarity that is light on its feet yet terribly moving.

Zsolt Khell’s stark set resembles a charred, empty theatre, open to the back wall, within a false proscenium studded with broken and missing light bulbs. The famous tree is a thin streak of trunk with a single branch that arches heavenwards, disappearing from view.

It is beautifully lit by Nick Schlieper, who bathes the stage in a sudden snap of blue light as night descends, while Alice Babidge’s costumes are suitably tattered and worn.

Weaving and Roxburgh are like two sad but resilient clowns who have made their way together, for better or worse. Roxburgh’s boyish Gogo is the more lost, despairing and occasionally angry, tugging plaintively at his ill-fitting boots and looking to Didi for comfort and food, yet he is playfully funny too.

Weaving’s Didi is jauntier and more in control, rolling the words around his mouth as he enunciates crisply like an old theatrical pro, the one who seems to remember more of the past, including the fact that they are to meet the enigmatic Godot.

Hugo Weaving, Luke Mullins, Richard Roxburgh and Philip Quast.  Photo: Lisa Tomasetti

Hugo Weaving, Luke Mullins, Richard Roxburgh and Philip Quast. Photo: Lisa Tomasetti

Quast and Mullins are more than their match as Pozzo and Lucky who appear in both acts, helping to alleviate the endless waiting.

Mincing onto the stage, his back arched dramatically as if promenading amongst high society, Quast is superb as the pompous, grandiose Pozzo: a big, corpulent figure compared to his scrawny servant. With his rich, resonant voice, Quast’s Pozzo is like a ringmaster in the first act, brutally in control. In the second act, now blind, he staggers on like a wounded bull, his authority undone.

With long, straggly white hair, Mullins is a ghostly yet feral presence and knocks you for six with his explosive, tortured outpouring of Lucky’s famous “thinking” monologue.

On opening night Rory Potter completed the exemplary cast as the boy who arrives, twice, to say that Godot won’t be coming.

In this thrilling, incredibly special production, you experience afresh Beckett’s iconic, exquisitely written play about everything and nothing. It really does seem to encompass the whole of life. Unforgettable.

Waiting for Godot runs at the Sydney Theatre until December 21. Bookings: 9250 1777 or sydneytheatre.com.au

An edited version of this review appeared in the Sunday Telegraph on November 24