SEEI took a trip to Sydney this month, plus a whole lot of new work opened in Melbourne - mainstage, independent and a combination of the two in MTC's third Neon season.
Spotlight on... Wizard of Oz at Belvoir, directed by Adena Jacobs
Adena Jacobs' work is often interested in the cinematic, while being transposed into the theatrical. Her production of Persona was a revelation - somehow she was able to capture the essence of that film while making a memorable stage work. Her Wizard of Oz is even more remarkable - it's bold, it's unforgettable and it's confronting and troubling. She knows you've seen the film a hundred times and this is the nightmarish version of that Oz that was once Dorothy's dream; now it's a nightmare about growing up - where brains, heart and courage can also put you on a path to doing terrible things.
There are touchstones in there, characters we know but barely recognise - two notes from Somewhere Over the Rainbow that morphs into Always Chasing Rainbows, after Dorothy gives courage enough to the Cowardly Lion to find his voice.
This production was not for children, but for adults who grew up with this story in their memories and in their hearts - but also knew that growing up wasn't as easy as clicking your heels together.
Elsewhere... Human Animal Exchange's The Dust and Us is an an exquisite exploration about how people connect with the earth, how we harness it, exploit it and think we can tame it. The performances and the text are outstanding and the integration with music was just divine. Lally Katz's Timeshare at Malthouse was a deceptive show, that seemed to be light and silly and amusing, until reality found its way in. Well, as much reality as one might expect in a play with a narrating turtle. Finally got to see Red Stitch's production of Grounded, while I was in Sydney, and the play is confronting and subversive - but the performance by Kate Cole was phenomenal.
MTC's Neon Festival is back. MKA's Double Feature was a mixed affair, but more hit than miss. I was particularly captivated by the powerful text of Lord Willing & the Creek Don't Rise by Morgan Rose. Zoey Moonbeam Dawson's Calamity was a mess, with some striking moments.
I still don't want to say too much about the very end of Mad Men. I have friends still watching, some with a few episodes to go and some with a few seasons. And I've already written about the show as a whole.
While the last seven episodes of the show were a bit hit-and-miss, which is not something I'd ever really thought about the show before, overall I was really satisfied with how the show rounded itself off after seven years on air. Yes, some of the stories were wrapped up quite neatly, but the nature of the show suggests that even when characters are left in a good place, you never know what's around the next corner.
And the last scene is suitably ambiguous. I'm just glad, in the end, the thrust of the series wasn't "people can't change" because if there was any time when people could change, it was the 1960s.
The first season of Grace & Frankie didn't change the world, but there's something amazing about four septuagenarian actor gracing the screen - and being this fun. How can you not love Jane Fonda, Lily Tomlin, Martin Sheen and Sam Waterston, no matter how middle of the road the script is?
Game of Thrones has been a bit of a problem this season - though this past week's episode is finally bringing the season (and the show) into focus. But it's taken until episode eight to get there. I'll say more once the season has ended.
I had a ball with the first season of Brooklyn Nine-Nine.
Mad Max: Fury Road is as good as you've heard it is. It's better. It's astonishing. It plays by its own rules. It's plot is simple but its characters are complicated. The performances are understated but they will blow you away. For a chase movie, it's got surprising depths. It's a thrill ride, and it's a bold feminist piece. It's tough and confronting and exciting.
Well done, George Miller. This is the best Australian film I've seen in years. (To be fair, I still haven't seen The Babadook.)
Also... Ex Machina is a stunning film. Smart, deliberately paced and upsetting in places, this is the kind of first feature that makes me excited to see what the director does next - and cements Oscar Isaac's place as one of the great modern screen actors.
Spotlight on... The "Birds & Bees" episode of This American Life was quite amazing - stories about how to explain things to children. No surprise, there's the expected story of how to explain where babies come from. Then there's a story from a black comedian who has to explain to his daughter about racism. And, finally, there's an amazing story about how to explain death to children - with a focus on a group that counsels children when a loved one dies. The matter-of-fact way this group explains the hardest thing in the world for us to deal with is quite extraordinary.
This week's episode, Game Face, was pretty great, too.
Elsewhere... to be honest, I've been listening to a lot of podcasts about Mad Men and interviews with the creator, Matthew Weiner. He's a smart guy and I like listening to him talk about his inspirations for the show.