Machu Picchu

Wharf 1, March 8

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Lisa McCune and Darren Gilshenan in Machu Picchu. Photo: Brett Boardman

After the success of Sue Smith’s previous plays Kryptonite in 2014 and Strange Attractor in 2009, her latest drama Machu Picchu was keenly anticipated – particularly with Lisa McCune and Darren Gilshenan in the lead roles.

But despite the best efforts of McCune and Gilshenan, the play itself feels underdeveloped, while the production directed by Geordie Brookman does it no great favours.

Commissioned by Sydney Theatre Company, Machu Picchu is a co-production between STC and the State Theatre Company of South Australia.

In a program note, Smith reveals that she was diagnosed with non-Hodgkin lymphoma a month before Kryptonite went into rehearsals. Machu Picchu was written in response to that experience. The play isn’t about cancer but explores how you deal with a life-threatening or life-changing event, and how that might make you reassess and change attitudes and priorities.

Gabby (McCune) and Paul (Gilshenan) are both successful engineers and appear to live a charmed life, though after 20 years their marriage has gone off the boil. Then, on the way home from attending a disastrous mindfulness retreat, their car crashes into a kangaroo. Gabby escapes unharmed but Paul is left a quadriplegic.

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Darren Gilshenan and Luke Joslin. Photo: Brett Boardman

Machu Picchu takes its name from the Inca city: an engineering marvel both admire and have long planned to visit. It represents the missed opportunities and compromises so many of us make in the busy whirl of life today. With its extraordinarily strong foundations, which have ensured its survival, the ancient site is also a resonant image for relationships.

The play shifts back and forth in time, so that we see Gabby and Paul’s relationship before and after the accident. With Paul experiencing hallucinations from the medication, the play also moves between reality and more surreal scenes but this hasn’t been fine-tuned enough in the writing. Brookman’s direction does little to help and the shifts in tone and style feel somewhat clunky.

McCune and Gilshenan both turn in accomplished performances. McCune plumbs Gabby’s guilt, loneliness and frustration beautifully, while Gilshenan brings a dry humour to the role of Paul, convincingly portraying his physical limitations, pain and indignity as well as the emotional turmoil, all of which leave him wondering whether he wants to live.

Though the chemistry between McCune and Gilshenan doesn’t totally fire, the scenes between them are the play’s strongest.

The supporting characters, however, are sketchily drawn. Best friends Marty (Luke Joslin) and Kim (Elena Carapetis) – who have their own flimsy IVF story – come across as crass, insensitive and self-absorbed when visiting Paul in hospital. If there was any sense of subtext, we might feel they are nervous, unsure what to say or perhaps trying to hide their distress. As it is, it’s hard to believe Paul and Gabby could be close friends with such boorish people.

Paul and Gabby’s daughter Lucy (Annabel Matheson), a doctor, is also conveyed in a few broad strokes, while Renato Musolino does what he can with the Lou, the psychologist from the retreat who rather improbably reappears and tries to help Paul find meaning in life.

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Darren Gilshen, Luke Joslin, Elena Carapetis and Renato Musolino. Photo: Brett Boardman

Jonathon Oxlade’s drab, unattractive set (lit by Nigel Levings) has a curtained hospital bed on one side of the stage and what feels like acres of poorly used, empty space on the other. (It may well sit better in the Dunstan Playhouse when the play goes to Adelaide). The hallucinations (which include Elvis for some reason) aren’t staged with any great imagination and visually it all feels rather bland and clichéd.

Machu Picchu explores interesting themes we can all relate to but it needs further dramaturgical work if it is to draw us in, provoke us and touch us emotionally. At present, it is only part way to becoming a compelling drama.

Machu Picchu plays at Wharf 1, Sydney until April 9. Bookings: 9250 1777. Dunstan Playhouse, Adelaide Festival Centre, April 13 – May 1. Bookings: BASS 131 246

A version of this review ran in Daily Telegraph Arts online on March 11

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Lisa McCune and Darren Gilshenan in Machu Picchu

2016 STC MACHU PICCHU Lisa McCune by James Green 2106

Lisa McCune. Photo: James Green

Australian sweetheart Lisa McCune, who shot to fame at age 22 as Constable Maggie Doyle in Blue Heelers, is about to take on her first middle-age roles. And it feels like “the right fit”, she says.

Best known for her television work and, more recently, her roles in musicals such as South Pacific and The King And I, McCune returns to straight theatre in a new Australian play called Machu Picchu opening tonight in Sydney in which she plays Gabby, a middle-aged civil engineer, whose life and marriage is upended when her husband is involved in a serious car crash.

In May, she plays Sally, a former showgirl who is now 49 but “still remarkably like the girl she was thirty years ago” in a concert version of the Stephen Sondheim musical Follies in Melbourne.

McCune, who recently turned 45, still looks extremely youthful herself but is very happy to embrace the more mature roles coming her way.

She describes Machu Picchu as: “a grown-up play about relationships and mid-life” and “a fascinating subject matter.

“It’s my first role playing (a middle-aged woman). Well, I suppose Anna in The King and I was too. But it’s a more mature part of my life as well so that is interesting to me. It’s not the ingénue any more. And it’s really nice to explore that,” says McCune.

“I don’t consciously go ‘oh these characters are older’. I think it’s just that feeling of the right thing. I certainly not going to be botoxing to try and play ingénues who are in their late 20s. It’s just where you start to fit I think.”

Though she denies giving too much thought to getting older, McCune admits that she felt different the second time she played the vivacious nurse Nellie Forbush in South Pacific.

“It’s funny, I did the first season of South Pacific (in 2012). By the time I came back to it a year later, I thought ‘I can’t play this any more’. I’m actually getting too old to play her and that’s when I did Anna and that felt right.

“It’s nice with this play (Machu Picchu) that it hasn’t been done before and there are no comparisons. We’re starting from scratch.”

Machu Picchu is a co-production between Sydney Theatre Company (who commissioned it) and the State Theatre Company of South Australia. It is written by Sue Smith, whose TV credits include Brides of Christ and Mabo and whose last play Kryptonite was premiered by STC in 2014.

It centres on a middle-aged couple who seem to have it all, but who must reassess their lives, priorities and relationship when the husband Paul is left a paraplegic after a car crash. The play moves back and forth in time, so that we see them before and after the life-changing accident.

Machu Picchu is worlds removed from the lavish musicals McCune has performed in of late, throwing up many questions about how you live your life after such an event. McCune’s character also wrestles with a lot of guilt.

McCune agrees it’s “tricky subject matter” but says the play has “many humorous moments” and “great heart. I think Sue’s language is really beautiful and her observations are fantastic,” she says.

In rehearsals, McCune found that performing in a straight play has required her to flex different acting muscles.

“It sharpens different things and that’s great. It’s the different language. A musical heightens things in different spots whereas when its just text, not backed up by songs, it doesn’t happen that way. So for me, it’s a new experience again. I’m finding it challenging – which is what you want out of your work really.”

Darren Gilshenan, who plays Paul, believes the role is very different to the parts McCune is usually cast in.

“I think she’s really excited that people will see her in a different guise and see what she’s capable of. This allows her to dig deep and find a lot of ugliness as well that you wouldn’t normally associate with Lisa,” he says.

Gilshenan is a fine comedy actor whose numerous credits include the seemingly hapless but kindly, occasionally wily neighbour Jack in Channel Nine’s Here Come the Habibs!, Uncle Terry in ABC-TV’s The Moodys and Bell Shakespeare’s hilarious production of The Servant of Two Masters.

McCune and Gilshenan have worked together once before: in the musical Urinetown for STC in 2006.

“I’ve admired his work for a long time. He was one of the reasons I wanted to do (Machu Picchu),” says McCune.

On the face of it, it seems almost perverse to cast an actor renowned for his physicality as a character in a wheelchair. But Gilshenan’s physical skills will be tested in Machu Picchu. “The level of detail that happens in the nine months (Paul is) in hospital, his development physically through rehab and the various stages needs to be very clear,” he says.

“I was saying to my wife after the first couple of day’s rehearsal that the scope of this piece emotionally, physically and intellectually, and what I can do with it, is fantastic. It’s a dream role.

“A lot of the comedy I’ve done recently is based on humour through the pain and truth of flawed individuals. But there’s always an awareness you’re in a comedy, whereas in this it’s really surprising where the real tragedy is at times. In the awfulness of the situation, there also a lightness and a comedy in there too.”

Smith has described the play as “both a grand love story, and a deeply ordinary one”, as well as a celebration of courage.

“That’s the part I love about it,” says McCune. “I’m such a romantic. I think the romantic side of it is really beautiful. It’s about a couple who are somehow meant to be together and how they are going to travel the next part of their life that’s really hard. It’s a tricky subject matter. I think Darren has had a lot to contemplate for his role.”

Asked if anything has happened in her own life to make her stop and take stock, McCune says: “I think for me the biggest turning point in my life was having children.”

McCune, who has never commented on her reputed relationship with opera singer Teddy Tahu Rhodes, has three children aged 15, 13 and 11 with her husband Tim Disney.

Machu Picchu rehearsed in Adelaide and has a season there after its Sydney run – which means a fair amount of time away from her Melbourne-based family.

“It’s one of the lines in the play: ‘work is work and it must be attended to,’” says McCune.

“It’s a different part of my life. Isn’t it funny: that’s what the play is about. It’s about living your life. And I guess for me I’m a better mum when I am doing some work. I think I feel more content. I’m happier and I’m happy to go and really throw myself back my life at home. I kind of need it.

“The kids are fantastic. They are a little bit older now and they understand that that’s the life that we’ve chosen (and) that they’re a part of. So they are OK and we just make sure we talk about it with them. And they’ll come away for holidays. Once you start throwing in holidays, you’re not actually away for that much.”

Machu Picchu plays at Wharf 1, Sydney until April 9. Bookings: 9250 1777. Dunstan Playhouse, Adelaide Festival Centre, April 13 – May 1. Bookings: BASS 131 246

 A version of this story ran in the Sunday Telegraph on March 6

 

2014: The Year That Was in Sydney Theatre

Looking back over 2014, it was a solid rather than a spectacular year in Sydney theatre. There were some impressive productions and performances but overall not a huge amount that will linger forever in my mind as unforgettable.

Verity Hunt-Ballard as Charity. Photo: supplied

Verity Hunt-Ballard in Sweet Charity for the Hayes Theatre Co. Photo: supplied

By far the most exciting thing was the advent of the Hayes Theatre Co. A group of producers under the banner of Independent Music Theatre (IMT) took over the 115-seat theatre in Potts Point, previously the home of the Darlinghurst Theatre Company, and turned it into a venue for independent musical theatre and cabaret. Named after musical theatre legend Nancye Hayes, the Hayes Theatre Co opened with a bang in February with superb productions of Sweet Charity followed by The Drowsy Chaperone: two of my highlights for 2014.

For the rest of the year, the venue constantly generated excitement even if some of the productions were less successful than others. But it was great to see them producing two new musicals as well as a terrific cabaret festival, which confirmed how many exciting young cabaret performers are emerging in Australia and how rich and varied the genre now is, with other artists performing at the theatre during the year as part of its Month of Sundays cabaret program.

Elsewhere in Sydney theatre, it was good to see female directors and playwrights really making their mark and – as others have noted – queer theatre and indigenous stories gaining a higher profile in the mainstream. The number of powerful new Australian plays was also notable.

I saw 182 productions. These are my highlights for the year.

MUSICAL THEATRE

Sweet Charity

As I say, the Hayes Theatre Co gets my vote for the most exciting venue and initiative of the year. It could hardly have found a better way to begin. Sweet Charity sold out within three days (fortunately I had already bought tickets into the run so saw it twice). Director Dean Bryant and his creative team brought a dirtier, grittier edge to the musical and staged it ingeniously in the tiny space. Verity Hunt-Ballard was gorgeous in the title role, heading a strong cast that also included Martin Crewes as Charlie, Vittorio and Oscar, and Debora Krizak as Nickie and Ursula. The production tours next year. It will be interesting to see how Bryant expands it for the larger venues.

The Drowsy Chaperone

Sweet Charity set the benchmark high but The Drowsy Chaperone matched it. Staged at the Hayes by Squabbalogic (which began the year as part of IMT but parted ways, presenting the rest of its productions at the Seymour Centre’s Reginald Theatre), Jay James-Moody directed a deliciously inventive production of the delightful, tongue-in-cheek, meta-theatrical show. James-Moody also played the Man in Chair and gave a very funny but sweetly poignant performance. The entire ensemble cast was spot-on and the feel-good show sold out like Sweet Charity before it, leaving many lamenting they were unable to see it. One to revive in 2015 perchance?

Miracle City

Josie Lane, Marika Aubrey and Esther Hannaford. Photo: Kurt Sneddon

Josie Lane, Marika Aubrey and Esther Hannaford in Miracle City. Photo: Kurt Sneddon

The Hayes also staged a long-awaited revival of Max Lambert and Nick Enright’s legendary Australian musical Miracle City, not seen in Sydney since Sydney Theatre Company gave it a development production in 1996. With Lambert as musical director, the show about a US televangelist family raised the roof with its gospel-country songs and struck a strong chord with its dark story. Blazey Best was sensational as the unravelling Lora-Lee Truswell and Esther Hannaford broke your heart with her exquisite rendition of the show’s best-known song I’ll Hold On.

Truth, Beauty and a Picture of You, Beyond Desire

All power to the Hayes for staging two new musicals, even though neither were an unqualified success. Both were strong musically but need further work on the book. But there were some wonderful performances in both shows, notably Ian Stenlake and Scott Irwin in Truth, Beauty and Picture of You (featuring the music of Tim Freedman and a book by Alex Broun) and Nancye HayesChristy Sullivan and Blake Bowden in Beyond Desire (by Neil Rutherford).

OTHER MUSICAL THEATRE

Ruthless! The Musical

Elsewhere in independent musical theatre, a new indie company called The Theatre Division staged Marvin Laird and Joel Paley’s 1992 off-Broadway show Ruthless! at the Reginald Theatre. A send-up of showbiz and the pursuit of fame, it’s a very lightweight little piece but lots of fun. The production was stylishly designed and well performed by a strong female cast led by the ever-reliable Katrina Retallick, with Geraldine Turner as an acid-tongued theatre critic.

Strictly Ballroom

Thomas Lacey and Phoebe Panaretos. Photo: Jeff Busby

Thomas Lacey and Phoebe Panaretos in Strictly Ballroom. Photo: Jeff Busby

 As in 2013, commercial musical theatre was decidedly patchy in 2014. Baz Luhrmann’s hotly anticipated musical based on his film Strictly Ballroom had its moments but didn’t fully fire. The score was a bit of a mish-mash, some of the choreography felt flat when it needed to soar, and the production was often over busy. Catherine Martin’s costumes were sensational though.

Phoebe Panaretos made an impressive debut as Fran, with standout performances from Robert Grubb as the conniving Barry Fife and Heather Mitchell as Scott’s pushy mother. Luhrmann has already improved the show since opening and is reworking it further for its Melbourne opening. I will be fascinated to see it again there.

The King and I

Lisa McCune shone even brighter than Roger Kirk’s glorious costumes, giving a radiant performance as Anna in the Opera Australia/John Frost revival of Frost’s 1991 production. There was some controversy about the handling of the racial elements in the musical, particularly the casting of the non-Asian Teddy Tahu Rhodes as the King. Politics aside, the production was beautifully staged and I found Tahu-Rhodes moving as the King. The Asian characters were also sympathetically performed within the context of a 1950s musical.

Besides that, Sydney saw the return of Wicked, with Jemma Rix in fine form as Elphaba and Reg Livermore bringing a winning showmanship and humanity to the role of the Wizard, as well as a rather ordinary production of Dirty Dancing that has nonetheless been delighting audiences, with Kirby Burgess stealing the show as Baby – her first leading role.

Les Miserables

The barricades in Les Mis. Photo: Matt Murphy

The barricades in Les Miserables. Photo: Matt Murphy

The hugely popular musical is back to storm the barricades afresh in a 25th anniversary production featuring new staging and new orchestrations – and stunning it is too. Beginning its tour in Melbourne, there are superb performances from Simon Gleeson as Valjean and Hayden Tee as Javert, who head a generally excellent cast. I thought I’d miss the revolving stage. I doubted I’d be as moved as in the past but I was bowled over and emotionally undone. Can’t wait to see it again in Sydney in 2015.

Once

Staged in Melbourne, with no plans to tour apparently, Once is a bittersweet, wistful little musical, based on the film. The lo-tech staging is so clever and so right for the show, the music is infectious, and the performances lovely. Totally charming.

THEATRE

Henry V, Bell Shakespeare

Can Damien Ryan do no wrong? His idea of staging Henry V (for Bell Shakespeare) as if performed by a group of school students taking refuge in a shelter during the 1940 London Blitz proved inspired. Performed by a marvellous ensemble, Ryan brought his customary clarity to the dense play and left us in no doubt as to the ugliness of war.

Ryan also directed riveting, intelligent, moving productions of All’s Well That Ends Well and The Crucible for his own company Sport for Jove – arguably the most exciting indie theatre company in Sydney.

Tartuffe, Bell Shakespeare

Another terrific Bell Shakespeare production directed by Peter Evans. Featuring a hilariously funny contemporary adaptation by Justin Fleming, the rollicking production was a complete hoot with Kate Mulvany a knockout as the sassy, cheeky maid Dorine.

Pete the Sheep, Monkey Baa Theatre Company

Nat Jobe (as Pete), Todd Keys and Andrew James. Photo: Heidrun Lohr

Nat Jobe (as Pete), Todd Keys and Andrew James. Photo: Heidrun Lohr

A gorgeous show for children, adapted for the stage by Eva di Cesare, Tim McGarry and Sandra Eldridge from the picture book by Jackie French and Bruce Whatley about a sheep shearer who has a sheep called Pete rather than a sheepdog. Directed by Jonathan Biggins, with songs by Phil Scott, the production tickled adults as much as children, with everyone laughing uproariously while still being touched by the message about difference and acceptance. A real beaut.

A Christmas Carol, Belvoir

Another delightful adaptation, directed by Anne-Louise Sarks, that while not shying away from the darker corners of Dickens’ novella, filled the stage with joyousness and snow. The entire cast were perfect but Miranda Tapsell’s smile as Tiny Tim and Kate Box’s playfulness as the Ghost of Christmas Present, sparkling in a glorious costume made from gold tinsel (by Mel Page), would have melted the hardest hearts.

The Glass Menagerie, Belvoir

After several disappointing adaptations of classics, Belvoir made up for it with Eamon Flack’s production of Tennessee Williams’ semi-autobiographical play. Flack’s use of two large screens on either side of the stage showing black and white footage emphasised that what we are seeing are Tom’s memories and gave the production a dream-like quality and sense of the past. Luke Mullins was marvellous as Tom and Pamela Rabe was a tough Amanda. My only reservation – there were sightline issues for anyone sitting on the side.

Eight Gigabytes of Hardcore Pornography, Griffin Theatre Company and Perth Theatre Company

A new Australian play by Declan Greene, set in the Internet era, that is emotionally hardcore rather than pornographic. Written with a spiky economy, it features two desperately lonely, middle-aged people full of self-loathing. Steve Rodgers and Andrea Gibbs bared themselves emotionally in extraordinary performances. Directed by Lee Lewis, the production was insightful and painfully sad.

Switzerland, Sydney Theatre Company

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

Sarah Peirse and Eamon Farren. Photo: Brett Boardman

A thrilling new play inspired by the life and writing of Patricia Highsmith in which playwright Joanna Murray-Smith weaves a psychological thriller set in Switzerland at the end of Highsmith’s life. Adroitly directed by Sarah Goodes, Sarah Peirse fully inhabited the role of Highsmith in a magnificent performance, with Eamon Farren also compelling as an emissary from her publisher sent to cajole her into writing another Tom Ripley novel, subtly and convincingly conveying his character’s gradual evolution. Brilliantly constructed, witty and gripping, the play will soon be seen at the Geffen Playhouse in Los Angeles.

Cyrano de Bergerac, Sydney Theatre Company

It was interesting to see Cyrano de Bergerac again, having been bowled over by Sport for Jove’s production at the end of last year. The STC production, featuring an adaptation by Andrew Upton, is very different, retaining the original 17th century setting. Truth be told I preferred Sport for Jove’s production but Richard Roxburgh gave a sublime performance as Cyrano, underpinned at every turn by a deep, dark, painful melancholy. Yalin Ozucelik (who was also wonderful as a more exuberant Cyrano for Sport for Jove) was the perfect foil to Roxburgh, giving a beautifully measured performance as Cyrano’s loyal friend Le Bret. Eryn Jean Norvill was lovely as Roxane.

Children of the Sun, Sydney Theatre Company

Andrew Upton’s adaptation of Maxim Gorky’s play was given an elegant, eloquent production by director Kip Williams. Set in the 1860s, with revolution in the air, it concerns an upper middle class Russian family whose lives are about to change forever. Featuring a fine cast, including Jacqueline McKenzie as the only one who senses what is coming, it was deeply moving.

Clybourne Park, Ensemble Theatre

Tanya Goldberg directed the highly anticipated production of Bruce Norris’s award-winning play for the Ensemble and did a fine job. The first act is set in 1959 in a predominantly white suburb of Chicago, the second in 2009 when the suburb is now mainly home to Afro-Americans. An excellent ensemble had us wincing at some of the attitudes in the provocative, discomforting play. All the cast were terrific but Nathan Lovejoy was outstanding as the bigoted neighbour in Act I and a new, white home buyer in Act II.

A Doll’s House, Sport for Jove

Adam Cook’s beautifully paced, richly nuanced, period production kept you on the edge of your seat. A young woman behind me who didn’t know the play was hysterical with excitement at the end. Matilda Ridgway gave us a multi-faceted Nora in a production that added yet another feather to Sport for Jove’s already well-covered cap.

Howie the Rookie, Red Line Productions and SITCo

One of the best indie theatre productions of the year. Directed by Toby Schmitz at the Old Fitzroy Theatre, Andrew Henry and Sean Hawkins gave exceptional performances as two working class Dubliners telling a blood-and-guts yarn through Mark O’Rowe’s two intersecting monologues. Lisa Mimmocchi designed the perfect minimal space. A dark little gem.

Is This Thing On?, Belvoir Downstairs

A riotous new play by Australian writer/performer Zoe Coombs Marr about a lesbian stand-up comedienne at five stages of her life and career, swirling around the night when it all imploded. Kit Brookman directed on a set by Ralph Myers that captured the feel of a grotty pub. Susan Prior’s no-holds-barred, manic performance was at the heart of the show.

NEW AUSTRALIAN PLAYS

Steve Rodgers and Andrea Gibbs. Photo: Brett Boardman

Steve Rodgers and Andrea Gibbs in Eight Gigabytes of Hardcore Pornography. Photo: Brett Boardman

Besides Eight Gigabytes of Hardcore Pornography, Switzerland and Is This Thing On? there were many strong new Australian plays in 2014 including:

Black Diggers by Tom Wright about Indigenous soldiers who fought during World War I and their appalling treatment when they returned to Australia. Premiered by Queensland Theatre Company and Sydney Festival.

Jump for Jordan by Donna Abela for Griffin Theatre Company, about a young woman born in Australia to Jordanian parents struggling to negotiate the gap between their culture and expectations, and her world.

Krytonite by Sue Smith in which she traced Australia-China relations through a personal relationship between two people who meet at university. Ursula Mills gave a sensational performance as Chinese woman Lian for STC.

Sugarland by Rachael Coopes and Wayne Blair, commissioned by atyp and written after a series of workshops with young people in the Top End town of Katherine. A moving piece about troubled teenagers, both indigenous and non-indigenous, in remote communities, with touching performances by a cast including Hunter Page-Lochard, Dubs Yunupingu and Elena Foreman.

Brothers Wreck by Jada Alberts A heartfelt Indigenous story about a young man called Ruben (Hunter Page-Lochard) struggling to cope with his cousin’s suicide, and his family’s struggle to care for him and keep him safe. A dark but humane, optimistic play, premiered by Belvoir.

M.Rock by Lachlan Philpott about a grandmother (Valerie Bader) who heads to Europe to find her missing granddaughter and becomes a famous DJ, staged by STC and atyp.

The Long Way Home by Daniel Keene, commissioned by STC and the Australian Defence Force and written from first-hand accounts of returned servicemen and women, many suffering post-traumatic stress disorder. The play was performed by returned soldiers alongside four professional actors. A powerful production and a wonderfully enlightened ADF initiative.

Once in Royal David’s City by Michael Gow. A theatre director already searching for meaning spends Christmas with his dying mother. Gow explores numerous themes including political theatre, consumerism, mortality and love. Brendan Cowell gave a searing, raw performance, with Helen Morse as his frail mother in the Belvoir production.

Unholy Ghosts by Campion Decent, premiered by Griffin Theatre Company. Decent’s touching autobiographical play about a playwright torn between his divorced but still warring parents – a grouchy father and diva-like mother – both facing death.

A FEW OTHER HIGHLIGHTS

Handa Opera on Sydney Habour: Madama Butterfly, Opera Australia A stunning, grittily contemporary production directed by Alex Ollé (of La Fura dels Baus) with a heart-breaking performance by Hiromi Omura. And what a location.

Louder Than Words, Sydney Dance Company An exhilarating double bill of works by Rafael Bonachela and Greek choreographer Andonis Fondiakis. I particularly liked Bonachela’s exquisite Scattered Rhymes. And the dancing! Never has the company looked better.

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

The Bangarra ensemble in Patyegarang. Photo: Jess Bialek

Patyegarang, Bangarra Dance Theatre A luminous production, choreographed by Stephen Page, telling the fascinating “first contact” story of Lieutenant William Dawes and Patyegarang, a young woman of the Eora nation. Told through 13 almost dreamlike scenes and ravishingly staged (set by Jacob Nash, costumes by Jennifer Irwin, lighting by Nick Schlieper, music by David Page), it could have been a little bit more dramatic at times but it was just beautiful.

The Arrangement A collaboration between Australian Dance Artists (veteran dancers Susan Barling, Anca Frankenhaeuser, Patrick Harding-Irmer and Ross Philip), eminent sculptor Ken Unsworth, The Song Company and composer Jonathan Cooper, staged at Unsworth’s studio. A tumult of ever-suprising visual images combined with glorious music and fascinating movement that reverberated with a profound sense of humanity to create a unique and wondrous piece of work.

Skylight in London I was lucky enough to catch Stephen Daldry’s superb production of David Hare’s 1995 play in the West End on a brief visit to London. Featuring the kind of intelligent writing you long to encounter more often, it explores the political through the personal, with nothing cut-and-dried or black-and-white as your sympathies swing back and forth. Bill Nighy and Carey Mulligan were both wonderful.

Limbo, Strut & Fret and Underbelly Productions A dark, sexy, enthralling circus-cabaret show, staged in the Spiegeltent as part of the Sydney Festival that combined jaw-dropping acts with a coherent, netherworld-like aesthetic and a strong sense of drama. It was exhilarating and it sold out fast. If you missed out it’s back at the 2015 Sydney Festival so get booking. I’ll be going back to see it again.

And that’s it. Here’s to a chilled New Year and to many theatrical delights in 2015.