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See, Watch, Hear: May 2015

A monthly round-up of what I've seen, watched and listened to.

SEE

I 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.

WATCH


TV

Spotlight on... Mad Men finale

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.

Elsewhere...

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.

FILM



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.

HEAR



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.

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My Favourite Theatre of 2019

This year I saw some amazing theatre in Melbourne, as always, and I was lucky enough to visit London for the first time, where I saw some wonderful West End theatre and some really inventive off-West End and independent theatre.
The thing about the theatre in London is that is really seems to be working toward the ideal of diverse casting, even if behind-the-scenes (writers, directors) are still male-dominated. And it’s not just in reinventions of shows like Death of a Salesman, which was a mostly black cast; a lot of shows I saw there were female-focused with racially diverse casts.
That said, I did see a show that was ostensibly about race, which was all white.
I saw some shows again this year, which were as great as when I originally saw them, but they have been on previous year-end lists, so sorry to Hamilton, Muriel’s Wedding and Cock – you’re not on my list again this year.
The lists are in alphabetical order and links in titles to review where available.
TOP TEN 

All About Eve –…

You are far away: Agent Cooper and his troubling return to Twin Peaks

“What year is this?” Dale Cooper asks in the final scene of Twin Peaks: The Return, the last of many unanswered questions left as the 18-part feature film concluded a week ago.
It’s far from the first time we’ve seen someone who looks like Dale Cooper lost for answers over recent months. But it might be the first time we have definitive proof that he’s in over his head.
Mr C, Dale Cooper’s doppelganger, who was first seen in the original series’ finale back in 1991, returned to the town of Twin Peaks with a goal in mind. Mr C was flexible, though. He had to be; he’d set so many things in motion over twenty-five years, if he’d remained fixated, he would never have come as far as he did.
Dougie, Dale Cooper’s tulpa – created by and from Mr C, wandered aimlessly through life, but slowly made every life he touched better. Plans change and Dougie changed with them. Slowly but surely, Dougie pieced together Cooper’s past life and became richer for it.
Agent Cooper, the third part of this T…

REVIEW: Disinhibition by Christopher Bryant

Flick, known on Instagram as Flick.Eats, and George, known on Tumblr as Boyance, are social media influencers. Flick.Eats posts FODMAP recipes and Boyance is living his best gay life online, but both are lies – constructions of the kind of personalities that get likes and shares and re-blogs. When Microsoft releases a new artificial intelligence bot onto Twitter – Tay, whose followers are #TaysTeam – the world of fake online personas gets trickier to navigate.
Who are Flick and George, really? Do they even know anymore?
Disinhibition plunges the audience right into the internet, the opening scene a perfect recreation of a Twitter interaction: someone posts a photo of their cute dog, lots of other users retweet it and someone @s the original poster, telling them their dog is prettier than they are. All social niceties are gone; people will say anything to each other online.
Presented by Monash University Student Theatre (MUST) and directed with a sure hand and clear intent by Artistic …

Careful the things you say... Joe Wright’s HANNA & the combination of genres

Once upon a time... I tried to write a film script that melded noir and Grimm’s fairytales, where the femme fatale, clad in a slinky red dress, was also (in a way) Little Red Riding Hood. Where the lover of a hit man discovered his true identity from something hidden under his mattress. Evil (step)mothers, adopted children, hunters, princesses and family fortunes. Noir and fairytales have a lot in common and yet... I had real trouble finding the right tone for the piece. And, in the end, my script read too much like I was trying to get the concept to work, rather than telling a compelling story.

Joe Wright’s film HANNA, screenplay by Seth Lockhead and David Farr, finds the perfect balance between a high tension thriller and a fairytale coming-of-age story. And travels further into the story of this mysterious girl than the trailer suggests.
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REVIEW: Control by Keziah Warner – Red Stitch

The crew of a space ship, dressed in bold primary colours, rock from left to right in front of us, as they try to keep control of their craft. The group is racially diverse but it’s the white guy, a larrakin Aussie from Melbourne, who boldly steps forward to save the day. “It’s something I have to do.”

Keziah Warner’s Control, a science fiction triptych, begins with a scene of broad comedy, a nod to Star Trek and then jumps back in time to see how this crew ended up in such a dramatic situation. Starting a story in media res can be a pretty tired trope, but here Keziah uses it as a dramaturgical sleight-of-hand; this story is much more complicated than it first appears to be.
A pregnant woman, a puppeteer, a singer and a detective have been hand-picked to be on this space ship, leave Earth and strive to survive in “Fifteen Minutes on Mars” – a Big Brother-type reality show that is manoeuvring this ensemble toward interstellar cabin fever.
Twenty years later, in a library that promises…

My Favourite Theatre of 2018

It’s that time of year again, when I look back over everything I saw on stage and put together a list of my favourite shows. I saw over 100 shows this year, mostly in Melbourne and a small number on one visit to Sydney.

I will link to reviews if I wrote one.
TOP TEN (alphabetical order)
The Almighty Sometimes – Griffin Theatre, Sydney
Kendall Feaver’s extraordinary debut play is about Anna, dealing with mood disorders and medication and the complicated relationship she has with the treatments and her mother. Superb cast and beautifully directed by Lee Lewis
Blackie Blackie Brown – Malthouse Theatre
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Blasted – Malthouse Theatre
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The Bleeding Tree – Arts Centre Melbourne

REVIEW: SLUT by Patricia Cornelius

A man is dead, we’re told. A good man. A man with a job. Not a drunk. Not homeless. He’s a hero really. Just wanted to help Lolita and now he’s dead.
We’re told this story – this anecdote – by a trio of young women, friends of Lolita, who have known her from a very young age. In fact, there’s some question about who knew her better and who knew her the longest. Because the better they knew Lolita, the better they might understand her. And the more they understand her, the more righteously they can pass judgement.
Lolita was a carefree child. Used to love riding a bike. Ride it fast. Feel the ache in her legs and sweat on her face. All she had to worry about was staying on the bike and enjoying her lovely, lovely life. She stopped riding bikes when she was nine-years-old.
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He’s a country boy who has moved to the big city – let’s call it Sydney – for university. He’s sleeping on his uncle’s couch and after being shown the expected touristy sites, he starts to explore the world by himself.
He’s gay and he’s never seen a penis other than his own. He’s drawn to a busker singing “My Heart Will Go On” and shaken up by two dude-bros shouting at gay couple kissing.
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