Skip to main content

Sydney: Theatre & Exhibitions

Muriel's Wedding - Sydney Theatre Company
Photo:Lisa Tomasetti

I was in Sydney last weekend for a few days to see theatre, catch up with friends, have a meeting and visit a couple of galleries.

Robert Mapplethorpe: The Perfect Medium – Art Gallery of NSW

“Don’t miss the XYZ room,” said the woman at the ticket box. “It’s near the flowers.”
“The XYZ room is near the flowers,” said the woman checking the tickets at the entrance.

In a world where we are given lots of warnings for films and theatre and exhibitions, as cautions to avoid things, it was refreshing to be encouraged to look at Mapplethorpe’s most challenging works. 

On the other hand, isn’t that what people visiting a Mapplethorpe exhibition are looking for? Do people go for his work with flowers?

Some of Mapplethorpe’s imagery is iconic, most of it is beautiful and very little of this exhibition was confronting; but the XYZ room was still kept off to the side, housing works from three compendiums of Mapplethorpe’s interests – erotica, flowers and black men.

There was also a selection of his work with Patti Smith, along with portraits of famous people like Andy Warhol, Yoko Ono and Isabella Rossellini. A strong overview of his career.

Three Sisters – Sydney Theatre Company

A Kip Williams production of an Andrew Upton adaptation of Chekhov with this cast, including Alison Bell, Eryn Jean Norvill, Mark Leonard Winter, Nikki Shiels, Chris Ryan… the list goes on. This should have been amazing. I am only ever a fan of Chekhov when it’s non-traditional: Simon Stone’s The Cherry Orchard or Eamon Flack’s Ivanov. This seemed to be another production in that same vein. And for much of the first half, it was engaging and funny and with that bleak undercurrent, because it is Chekhov.

The second half loses the fun of the first and dives headlong into Chekhovian nihilism. I am not a fan of Chekhov in general, but I have enjoyed work based on his work before. With this team, I had very high expectations. They were only rarely met and never in the second half.

Three Sisters, Sydney Theatre Company
Photo: Brett Boardman

Pipilotti Rist: Sip My Ocean
– Museum of Contemporary Art, Sydney

I love visiting the MCA in Circular Quay because it’s central and because the shows there are so often surprising and delightful. Their own collection and what they have on display normally turns over between my visits is always strong, and their feature exhibitions open up new worlds to me.

Rist is a Swiss artist and her work is a combination of video installations and sculpture. Though her work was previously unknown to me, I can see how her pioneering work has inspired others; notably how Ever Is Over All (1996) was clearly an inspiration for Beyonce’s Hold Up music video.
My favourite work of hers in this exhibition was Pixelwald motherboard – a room full of strings of glowing lights that was meant to evoke the vision of an exploding television. Astonishing.

Merciless Gods – Little Ones/Griffin Theatre

It’s not the first time I’ve travelled to Sydney and ended up seeing work that I’ve missed in Melbourne. I was very lucky to get a ticket to a previously sold-out performance of Little Ones’ Merciless Gods which was performed at Northcote Town Hall earlier this year.

Based on a collection of short stories by Christos Tsiolkas, Dan Giovanni has selected eight of these stories to put on stage – a compendium of pieces told from the fringes of society. This isn’t the high camp I normally associate with Little Ones but I loved the boldness of the story choices and the ensemble is superb. I’m glad I caught up with this and I hope Sydney gets to see more of the Little Ones in the future.

Muriel’s Wedding – Sydney Theatre Company

Reinventing the classic Aussie film to be a stage musical seemed fraught; how do you find someone, anyone to write songs that won’t fade into the background next to the selection of ABBA songs that Muriel escapes into? And how do you use those ABBA songs without them feeling like a distraction?

Thankfully, Kate Miller-Heidke and partner Keir Nuttall have created fully-theatrical songs that capture the wild swings of emotion in Muriel’s life. They fit neatly alongside PJ Hogan’s book, based on his original film. There’s been some updates; the social media aspect is both a blessing and a curse to the show.

The first act is solid; director Simon Phillips keeps the show moving using a grab bag of his classic theatrical trickery. It is a strong musical and not just a play with songs; and it’s a long way from the jukebox musicals of Priscilla Queen of the Desert or Mamma Mia.

The second act is a bit messier. The script veers wildly around. Strong emotional moments are drawn out too long. There’s some attempt to give the love interests some depth, but that distracts from Muriel’s story – and in the end, does the show gain anything much from fleshing out the token men?

Overall, though, this is a strong show that deserves a long life touring the world.

Atlantis – Belvoir Theatre Company

Hi, I’m Keith Gow, playwright and theatre blogger. I have seen lots of Lally Katz shows and even aside from the show where she starred and talked about her life, most of her plays contain her in some way, shape or form. Not just in the way that some writers write what they know, but Lally is often a character in her own plays. In Atlantis, Lally is played by Amber McMahon. Amber is always amazing and she makes the perfect Lally, if you can’t have Lally telling these stories herself in person.

I love the honesty of Lally’s work and while the idea of a writer putting themselves into their own work could feel self-indulgent (and perhaps some of Lally’s early work might be described that way), somehow Atlantis doesn’t feel like that at all. Lally has gained enough perspective of her life over the last few years to tell a riotous, outrageous, touching story about writing and relationships; about motherhood and birthing new worlds on stage.

Rosemary Meyers has found her way into Lally’s head and sitting front row at Belvoir, I felt like I was immersed in this bizarre dimension that was a little bit Vegas, a little bit Miami and a whole lot of Lally Katz. And if I might have missed the Apocalypse Bear and the Hope Dolphin, I still got to see Lally’s imaginary Panther friend… and the funniest, most athletic sex scene I’ve ever seen on stage.

Atlantis, Belvoir
Photo: Daniel Boud

Comments

Popular posts from this blog

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 –…

Melbourne Comedy Festival – Garry Starr Conquers Troy

Last year, Garry Starr explored every genre of theatre in order to try to save it. Now that he’s saved theatre, he wants to make sure actors out there know how to be the best skilled actor (or, skactor) they can be. Garry has written a book called “An Actor Pretends” about the history of pretendism.
Chapter by chapter, Garry’s vast knowledge of being a triple threat is explored on stage in front of our very eyes. He explains how to audition for a director when you’re waiting on them in a restaurant. He tells us how to act when we inevitably move to Hollywood and get botox and we can’t move our face. And then there’s his unconventional method for learning lines by osmosis.
Rubber-faced actor and comedian Damien Warren-Smith is so damn charismatic that he’ll have you on his side within minutes – and have some of you up on stage as part of Team Garry, if you dare. If you don’t want to participate, don’t sit in the front row like I did; though my moment in the spotlight only consisted of…

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 …

A Thing Isn’t Beautiful Because It Lasts: Avengers in the AGE OF ULTRON

The latest film in the Marvel Universe series feels like nothing so much as a season finale. And since Joss Whedon was once the master of creating season finales that were both emotionally satisfying and thematically resonant, it’s good to have him in charge for the second Avengers movie, Age of Ultron.
I’d like to compare it to the epic scope of Buffy’s “The Gift” but it feels more like Angel, if anything. Things change, the world moves on – and the best you can do is keep fighting. And embrace change.
Tony Stark has always been flawed, but by the third film in his own trilogy, he seemed to have found an emotional peace. But with that peace comes the idea that he can use his technology – his faith in machines being his tragic flaw – to create a replacement for the Avengers. He births an army of robots to calm the populace and fight alien foes.
Robert Downey Jnr’s Stark is such a towering figure in the Marvel Universe films – and to make him partly the villain of this new film is a s…

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…

REVIEW: Solaris by David Greig (based on the novel by Stanislaw Lem)

Arriving on a space station orbiting the planet Solaris, Kris Kelvin (Leeanna Walsman) is confronted by beings who are almost human, while digging through the digital archives of Dr Gibarian (Hugo Weaving), who recently died. She must try to understand what these creatures are and what other mysteries lie on the planet below, under the roiling oceans that cover its surface.

Like the Malthouse’s other current production, Wake in Fright, David Grieg’s new play is based on a novel that has also previously been a film. In fact, Stanislaw Lem’s book has been adapted into two films, several operas and a play or two before this. It’s no surprise that it would inspire great filmmakers and playwrights to bring their own versions to life; alien entities, memory and lost loved ones are all rich elements with which to explore the themes of loneliness and otherness.
Designer Hyemi Shin creates a cool, minimalist environment that’s efficiently modular; its swiftly moving doors and sliding panels e…

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
Nakkiah Lui’s work is always amazing but this production, directed by Declan Green, was another step up for her – the satire sharper and bleaker and more hilarious than ever before.
Blasted – Malthouse Theatre
Sarah Kane’s debut play from 1990s London is a tricky beast tackling difficult subjects but Anne-Louise Sarks nailed it with a superb production.
The Bleeding Tree – Arts Centre Melbourne

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.
Going in, I was worried this might be too close to Leon or La Femme Nikita – the original films of which I throughly enjoyed, but would this new fil…

REVIEW: This Bitter Earth by Chris Edwards – Midsumma

A young man sips a glass of wine, waiting for us to file into the theatre, while Kylie plays. As we settle in, he’s a long way from settled – nervous, anxious, eager to tell us about a dream he’s had. Even though he knows that when most people recount dreams, they are dead boring.
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.
“Stop shoving it down our throats,” they shout, unaware of how unintentionally homoerotic they sound. The guy whose story we’ve been following, decides to follow them.
And this is just the start of the first vignette in a series of short moments by Chris Edwards exploring queer sex and relationships in this fantastical ga…