Author Archives: faithashw

The Bartered Bride: True Love Prevails

Posted by faithashw in Review, Theatre and tagged with , , , , , , , , , , , , , , , , , , ,

When one thinks of opera, usually the legendary late Pavarotti comes to mind; these two naturally go hand-in-hand in people’s minds.  Typically performed in a foreign language and accompanied with classical music that is played by a live orchestra, sadly opera does have a reputation for being “stuffy”, more suited for an older audience and being a high brow affair.

This is what makes The NBR New Zealand Opera’s performance of The Bartered Bride truly a unique and refreshing experience.  Though originally written in Czech by Bedřich Smetana, it is sung in English so New Zealand audiences can easily connect and better relate to the story.  It also features the “who’s who” of the New Zealand opera world so while it is a Czech national opera, it is also very much a proud New Zealand production.

If you are yet to experience the opera but are curious to, The Bartered Bride is the perfect one to ease yourself in to.  It is incredibly accessible, unpretentious and even though it does have political and social undertones throughout the narrative, it is essentially a romantic comedy – something everyone is familiar with.

The Bartered Bride is set in a Bohemian village in 1972 and is a tale of two lovers, Mařenka and Jeník, who want to be together but this desire is thwarted by a manipulative scheme orchestrated by the bullying village mayor and also marriage broker, Kecal.  Through an agreement with Mařenka’s social climbing parents, he decrees that she should be wed instead to Vašek, the younger son of Tobiáš Mícha.  As to be expected, Mařenka refuses this arranged marriage which leads Kecal to make another agreement, this time with Jeník himself.  To Mařenka’s horror, she soon discovers that her beloved Jeník appears to have sold her.  Angered and betrayed, she in turn resolves to do some scheming of her own.

A highlight for me was the traveling circus troupe which take the stage after the interval.  I thought this was a well-timed change of pace in the story arc and an incredibly fun one at that!  From juggling to acrobatics to a very impressive stunt involving a stack of chairs, we are treated to an awe-inspiring visual spectacle of vaudeville and energetic circus tricks.  This scene, as well as other action scenes (notably the bar brawl scene) make full use of a colorful array of props, the stage and are all exceptionally choreographed.

As a collective sound everyone from the main characters to the ensemble were simply outstanding.  The orchestra headed by Oliver von Dohnányi marries voice and music harmoniously; one is never overpowering the other.  I always find it such a shame that we cannot see the orchestra.  With this particular orchestra, even though you can only hear them, each instrument stands out in its own right but also come together in one heavenly voice, beautifully accompanying and enhancing what is happening on stage.

I thought Anna Leese gave an incredibly heartfelt and absolutely flawless performance as Mařenka – beautiful and effortless vocals with such great control.  She is perfectly paired with Peter Wedd who played Jeník.  His vocals were also impressive and had a really lovely soothing tone to it which was so pleasing to the ear.  It’s not surprising that they were cast as the two leads as they share an undeniable chemistry on stage and every time they sang together, their voices just complemented each other wonderfully.

I also really liked the meek and stuttering Vašek, embodied perfectly by Andrew Glover.  His character brought a welcome element of comedy to the show and I thought he did a brilliant job with the lines he had to simultaneously stammer and sing.  On the other extreme, I thought Conal Coad was remarkable as Kecal.  He played the antagonist with ease, commanding the stage with an intimidating yet, at times I found, almost comical presence, which sounds an odd combination but actually worked.

The Bartered Bride is an absolutely triumph and an opera experience like no other – a breathtaking vocal and visual masterpiece.  A massive well done to Daniel Slater for directing such a fantastic production, as well as to everyone involved from cast to crew.  Simply superb!

The Whimsical Banana rates The Bartered Bride: 5/5 bananas!

The Bartered Bride is an Opera North production featuring The Chapman Tripp Opera Chorus and accompanied by The Auckland Philharmonia Orchestra*.

The Auckland season has finished but The Bartered Bride is headed for Wellington next!  For dates, more information and to get tickets, click here.

*The Wellington shows will be accompanied by the Vector Wellington Orchestra.

Review: Short + Sweet Theatre – Top 30 Week 2

Posted by faithashw in Review, Theatre and tagged with , , , , , , , ,

This week at Short + Sweet Theatre, it was yet another eclectic selection of quickfire plays for me to sink my teeth in to.  With each round, I’ve found the decision on which play to vote as my favorite becoming increasingly harder; I definitely don’t envy the judges’ position!

The evening starts off with a deceptively light-hearted play, The Gospel According to Bowser penned by Dan Borengasser.  As the title indicates, the play starts off as a Gospel-esque monologue by an unlikely prophet – the family dog, Bowser.  A loyal disciple to the “Omnipotent Master”, his beliefs are called into question and challenged on arrival of a new feline addition to the family.  They debate over their owners and the “futility of existence” before a pesky rodent shows up to settle the matter.  The play is refreshing, very cleverly written and I thought the two actors who played the family pets did a fantastic job, especially with nailing the mannerisms of the animals.

I found Monetum Productions’ The Gift to be a very uncomfortable experience – but not in a bad way!  It appears to be an ordinary day but when a man accepts a package from a courier, the situation quickly turns into a terrifying hostage situation.  The boundaries for on-stage torture is pushed to the limit and I thought the build up of dread and unease was very well executed.  The Wedding by Nocturne Theatre was also a somewhat uncomfortable experience but unfortunately not in a good way.  A couple are in a motel room after getting hitched though the ceremony was “more a stag do than a wedding”.  We watch on as their relationship unravels and while the actors played their characters well where it comes undone is the time shifts that occur.  I found it to be confusing and just didn’t work within the ten-minute format.

Two more plays that tackle relationships and romance are The Break Up by Glen Pickering and Renée Boyer-Willisson’s serendipitous tale The Smell of Rain.  James and his friends are at what I assume is some costume party (it is never explained why the characters are dressed the way they are) and the entirety of the plot raises the question: how much would you do for an extremely reasonably priced super king sized bed?  The Break Up is absolutely hysterical with excellent pacing and great comedic storytelling made all the more ridiculous with a furry elephant costume.  The Smell of Rain also raises a question – several actually – when Serenity meets “Mikey” by chance at a cafe on a rainy day and she conveniently decides it’s “share your problems with a stranger day”.  A rather quirky would-be/could-be love story very cleverly constructed and brilliantly executed.   I loved that Gingerbread man skit!

The best performance of the night for me was The South Afreakins by the Stampy Theatre Company.  The story kicks off backstage – we hear a couple with very distinctive South African accents conversing.  Only when Robyn Paterson comes to the stage and takes a seat do we quickly realize that she is both husband and wife.  The narrative had a well-paced arc with a good dose of humor while also having a strong message of home and identity embedded into it.  It is very much a one-woman show with Paterson wearing all hats in this production – playwright, director and actor.  I was incredibly impressed by how she embodied both Gordon and Helene; the way she swiftly alternated between both characters, skillfully changing voices and posture – it was just a flawless performance.

Boys’ Outing by Winter’s Collective was another well acted performance, in my opinion.  The entire plot takes place at a bus stop and centers on a conversation between two schoolmates as they wait for the bus.  Where the story lacks in action and movement, it more than makes up for it in performance.  Graham Candy and Ryan Dulieu do a commendable job playing Ben and Rich.  The chemistry and camaraderie between these two boys is evident which made the banter between them incredibly candid, all the more believable and enjoyable to watch.  A story with bucket loads of humor but also one with bite.  It tackles an issue that some would find uncomfortable to discuss but I thought whoever wrote it did an exceptional job at broaching the topic in a more accessible and “user friendly” way.

My vote for favorite play came down to Josh Hartwell’s A Different Client and the closing play, The Guilt Sniffer by Team M&M Productions.  Darren Taniue as the flamboyant “brown and down” call boy was a delight to watch and I absolutely loved the way the story unfolded and built up to the twist at the end.  That climax where everything was revealed and that chilling ending is something that I will not soon forget as it was just so unexpected and so incredibly moving.  I cannot resist a good detective story though and I thought The Guilt Sniffer had an interesting storyline, well-timed comedic moments and overall was just incredibly entertaining.  The narrative was well-constructed and made the most of the ten-minute time frame.  A great spoof and a creative take on the classic whodunit story.

So that’s two groups done, one more to go!  Looking forward to what the final groups in the top 30 have to offer.

The Whimsical Banana rates Top 30 Week 2:
The Gospel According to Bowser: 4/5 bananas
The Gift: 3/5 bananas
The South Afreakins: 5/5 bananas
Boys’ Outing: 4/5 bananas
The Break Up: 3/5 bananas
The Wedding: 2/5 bananas
A Different Client: 5/5 bananas
The Smell of Rain: 3/5 bananas
The Guilt Sniffer: 5/5 bananas

Short+Sweet Theatre is playing at The Herald Theatre and is presented by The EDGE in association with STAMP. For more information, dates and tickets click here.

For the full programme, cast and play information, check out the Short + Sweet blog.

Review: Short + Sweet Theatre – Wildcard Week 1

Posted by faithashw in Review, Theatre and tagged with , , , , , , , ,

After watching the first group of Wildcards perform, I don’t envy the people that had to decide who made the top 30 and who didn’t as from what I’ve seen so far, the talent pool this year really is just incredible.  While there were only a few plays that really stood out for me in the first top 30 group, I found this Wildcard group to be a much closer race.

The show kicks off on a sombre note with Softly as in a Morning Sunrise by Robert Barr.  With no props, the pressure was on the cast to fill the empty space with their performance, sell the story and keep the audience engaged.  I thought it was almost there; the two political prisoners were performed well by the two actors and the end was quite clever, I just think the story arc did not quite work within the ten-minute time frame.  Similarly I felt Henrietta Bollinger’s Bedtime Monsters had pacing issues too.  I liked the fly-on-the-wall feel the story had but for me, the pay-off at the end did not quite match the build up.  Coincidentally these two plays were the only ones in the bunch to not have a director on board which is perhaps the missing link that was needed.

A Cultural Hierarchy by Curious Theatre was my favorite play in the first half.  It begins in the darkness before we meet “best friend beings” Seb and Angie who are there to take us on a tour of Pastiche gallery.  After informing us of a few housekeeping rules notably the “no touching policy” (demonstration included), the tour very quickly becomes one of escalating inappropriate behavior before complete mayhem is unleashed.  The level of panache and comedy was well balanced and executed and I absolutely loved the way the story breaks the Fourth Wall through their faux interaction with the audience.

I really enjoyed David Vazdauskas’ How About Cannons? which took us back in time in a supposed moment in history where we see that even the greats suffer from writer’s block.  While clearly meant to be taken with a grain of salt, the two actors did bring a level of authenticity to their performance.  Suddenly it didn’t seem all that far-fetched and perfectly plausible that Tchaikovsky would have argued with his brother about whether the 1812 Overture should be a celebration or cattle call.  I thought Michael Morris brought great energy to the stage as the excitable younger brother.

Simple in concept but creative in execution, Riding the Red by Grace de Morgan tackled the thing that everyone can identify with on some level – love.  Like the first play, there were no props, but the story is brought to life through a spot of mime and an entertaining and animated monologue where two individuals ponder their past failed conquests.  The ending epitomizes the very theme of this festival – short and sweet – and Queen’s Somebody to Love could not have been a more perfect song to follow after!  In contrast Michelle Macwhirter’s For Our Kind transports us to the year 2032 after a virus outbreak and explores love but what it becomes when the human race is in survival mode.  I liked the twist on the “first date” in the wake of a global disaster but the ending left me a bit cold.

I was pretty much decided that A Cultural Hierarchy was going to be my vote for favorite play and then A Criminal Mind by Paula Armstrong came along.  “Black comedy with a twist” really is the perfect way to describe it.  I thought the premise was clever, paced and structured perfectly to unfold in the ten-minute run time and well cast.  The best, however, was really saved for the last – Skux Capacitor’s Mechanics won me over with the “no frills” way in which the story of Joseph and “bad joke Eli” was told.  I loved their use of mime, homemade sound effects and makeshift quicksand as well as the clever use of  “Radio Bloke” to play the story’s narrator.  It was silly but loads of fun and a good laugh – the perfect end to another great selection of  bite-sized theatre!

The Whimsical Banana rates Week 1 of the Wildcards:
Softly as in a Morning Sunrise: 2/5 bananas
A Cultural Hierarchy: 5/5 bananas
Bedtime Monsters: 2/5 bananas
How About Cannons?: 4/5 bananas
Riding the Red: 4/5 bananas
A Criminal Mind: 5/5 bananas
For Our Kind: 3/5 bananas
Mechanics: 5/5 bananas

Short+Sweet Theatre is playing at The Herald Theatre and is presented by The EDGE in association with STAMP. For more information, dates and tickets click here.

For the full programme, cast and play information, check out the Short + Sweet blog.

The Red Chair: Obsess + Confess

Posted by faithashw in Review, Theatre and tagged with , , , , , , , , , , , , , , , , ,

On entering the Loft at Q, I was immediately transported to some sophisticated piano bar in the heart of New York.  The mood lighting and theatrical fog created a dramatic effect and a sense of  mystery while the cabaret-style seating and gorgeous fairy lights served as the perfect backdrop for what was to come.  Expectations were definitely high and I’m pleased to say I was not disappointed in the slightest.

The Red Chair, under the superb direction of Aaron Tindell, is music theatre like no other.  Four characters – an older man, his cynical long-time lover, a younger guy skeptical about love and a younger woman with a troubled past – all share their stories candidly and emotively through song.

The songs – everything from Edith Piaf to Boy George – form a musical montage of the many romantic and sometimes obsessive emotions one experiences when dealing with love.  Every song transitions seamlessly to the next cultivating in a beautiful and colorful  journey of music which tackle an array of things – unrequited love, lust, jealousy and even a nervous breakdown.

What makes the show truly unique is how the performance is presented.  The red chair that is in the center of the room leads you to believe that that is where the “stage” is but there really isn’t a stage.  Instead the entire space is the stage with the performers freely roaming the room and mingling with audience members, even sitting at other specially lit red chairs that are placed at selected tables.

This blurring of the lines between the audience and the performer provides a very intimate and immersive theatre experience.  You find yourself having a more personal connection with the performers and because of the closeness in proximity, it does feel like you are a part of the performance as well.

I was blown away by the vocal prowess of each performer.  Andrew Laing’s vocals had a wonderful charm and storytelling quality to it that made him so easy to listen to.  Roz Turnbull effortlessly commanded your attention every time she sang.  What I loved most about her performance was the way she fully embodied the song, delivering not only a fantastic vocal but one with loads of personality too.

Melissa Nordhaus impressed me the most with her incredible vocal range and I loved the honest and heartfelt way she interpreted the songs.  My favorite of the four was Will Barling because of his silky tone and that beautiful vibrato.  His rendition of Petrified from the stage musical Taboo sent chills up my spine; my favorite number of the night, hands down.

The Red Chair was just spectacular and truly a magical experience, one I will not soon forget.  It is live music at its finest – a must for those who want to enjoy music theatre with a twist.  Exquisite performances, extraordinary storytelling through song, and an excellent band who bring it all together – huge hats off to Robin Kelly for providing the musical heartbeat to the show.

The Whimsical Banana rates The Red Chair: 5/5 bananas!

The Red Chair is a Dionysos production and is playing at the fabulous Q Theatre until 6th October.  To buy tickets, click here.

Thank you to Passion PR!

This review is also featured on Keeping up with NZ.

Review: Short + Sweet Theatre – Top 30 Week 1

Posted by faithashw in Review, Theatre and tagged with , , , , , , , ,

For those who have an interest in live performance but have a short attention span, Short + Sweet Theatre is the perfect theatre fix for you.

The first round of this quickfire theatre festival began earlier this week and over the next three weeks will feature 50 plays that have a mere 10 minutes to reel you in and impress you.  From comedy to slice-of-life to melodrama, there is a little something for everybody.  And if something doesn’t quite tickle your fancy, you need only wait a few minutes before the next short story comes along.

There was a lot to like in the first group that took the stage in the Herald Theatre on Tuesday.  Kerrie Ann Spicer’s Stiff Justice set the bar high with a dark comedy about a newbie cop who shares a secret with a ghostly John Doe.  I thought it was brilliantly conceptualized and perfectly timed considering the short time frame.  Do Not Pull by Sally Sutton took a while to “rev up” but the colorful personalities and natural chemistry between the four traveling girl friends is what held my interest.  I particularly liked the ditzy but lovable Chardonnay (how can you not, with a name like that!).  And let’s be honest, who doesn’t love a good Britney tribute?

Comedy seamlessly moves into drama with the help of smooth set changes and cleverly selected accompanying songs.  I thought Nancy Sinatra’s Bang Bang following 50 Guns was particularly apt.  Hope, by the Indigenous Theatre Group, Alex Broun’s 50 Guns and Nine Types of Ice by Michael Ripley in the second half all attempt to put some weight in their plays by tackling more serious, real life issues.

I could not take my eyes off Emma Fenton; her gripping “murder is easy” monologue in which she puts a name to every gunshot victim was both disturbing and riveting.  I have to say it was rather daring to bring something like this to the stage, especially in the wake of the recent theatre shooting in America.  The message behind the play is a powerful one but I’m not ashamed to admit I felt a tad uneasy!

Out of all the plays I think Hope, which put a face to abortion was the most confronting and the one that is likely to spark the most controversy.  While I bought in to the actors’ emotionally-charged performances, I do think the subject matter may unfortunately be a little too taboo to be fully appreciated.  The top actors of the night for me were Amelia Reynolds and Xavier Black who went from playing young and excitable friends in Do Not Pull to two anguished mothers in Nine Types of Ice waiting for the fates of their children who were involved in a tragic accident to be revealed – absolutely gut-wrenching.

It was a close race for favorite play of the night for me.  In the end it was between the laughs aplenty medieval-themed Wisdom of Solomon by Tristram Baumber and Nic Sampson’s The Lighthouse Keeper.  Ultimately it was Barnaby Fredric’s charming performance of Earl, the paddles-for-hands “French robot that talks” that sealed my vote.

I did thoroughly enjoy the flamboyant and camp antics of King Solomon (who believes all problems can be solved by literally cutting them in half) but I felt at times the intended chaos and mayhem of the scene was at its detriment as it caused some dialogue to get lost which made it a bit confusing to follow.  In contrast the simplistic nature of the struggling writer who has been replaced by a curious robot who just wants to be friends is devoid of much action but yet is witty, entertaining and just a delight to watch.

Had The Flowers by Festival Director Jonathan Hodge been eligible, my vote would have quite easily gone to it instead.  The second monologue in the bunch, Sheena Irving is perfectly cast as the Nintendo-raised Sam, the “town death magnet”.  The storytelling in this is just superb and again, considering the ten-minute constraint, I thought the story arc was exceptionally paced and very well executed.  The closing play, Supercide, sees the evening finish as it started – with another dark comedy, this time about Aeroman, superhero of Jaffatown, who is uncharacteristically feeling suicidal.  I thought this twist on the superhero tale was very clever and I enjoyed the meta-humour immensely.

If this first round is anything to go by, I am extremely excited for the coming rounds!  I would thoroughly recommend Short + Sweet Theatre to any theatre lover who wants to kill many birds with one stone as these bite-sized plays are the perfect “tasting plate”.  It is also a fantastic opportunity to check out not only the local emerging talent in the theatre world but also from around the globe too.

The Whimsical Banana rates Week 1 of the Top 30:
Stiff Justice: 3/5 bananas
Do Not Pull: 3/5 bananas
50 Guns: 4/5 bananas
Hope: 2/5 bananas
The Lighthouse Keeper: 5/5 bananas
Wisdom of Solomon: 4/5 bananas
Nine Types of Ice: 3/5 bananas
The Flowers: 5/5 bananas
Supercide: 4/5 bananas

Short+Sweet Theatre is playing at The Herald Theatre and is presented by The EDGE in association with STAMP. For more information, dates and tickets click here.

For the full programme, cast and play information, check out the Short + Sweet blog.

Private Lives: The Original Rom-Com

Posted by faithashw in Review, Theatre and tagged with , , , , , , , , , , , , , , , ,

We have all at some point known of couples who are stuck in the vicious cycle of break up – get back together – break up – get back together.  Rinse and repeat.  What is it that makes them keep going back for more even though they are clearly not right for each other?

Written in 1929 by the late Noël Coward, Private Lives explores this particular brand of temperamental, mismatched love.  Elyot and Amanda are happily divorced and five years on they are now honeymooning with their new spouses.  Little do they know that as rotten luck would have it, both couples happen to be doing so in the same hotel right next to each other.  Awkward.

I really enjoyed the first act.  It sets up not only the tone of the play perfectly but through Sibyl and Victor’s incessant questioning, we also learn of Elyot and Amanda’s volatile relationship filled with narcissistic egos and constant bickering which ultimately ended due to alleged infidelity.  A lit line in the middle of the stage marks the two balconies of their adjoining hotel suites and the scene goes back and forth between the couples seamlessly, with their conversation bouncing off each other in an uncanny mirrored symmetry.

Against the stark white backdrop, music forms the heartbeat of the play and the friendly banter between the two new lovers takes a turn when Lou Reed’s dreamy and melancholic Perfect Day starts playing.  When Elyot and Amanda finally set eyes on each other, all hell breaks loose and what unfolds is nothing short of chaotic comedic mayhem.  Although Elyot has an overwhelming “sensation of impending disaster”, this is ignored completely for the irresistible pull they have towards each other and subsequently they run off together, abandoning Sybil and Victor.

Act two sees the couple “living in sin” in Sydney.  Unsurprisingly the reasons as to why they eventually divorced in the first place begin to rear its ugly head again.  Their use of the code word “sollocks” to impose a time out seems to put them at bay for a while but they soon realize that the undeniable chemistry they share which brings them together is also the thing that makes them completely unsuitable for each other.

As the story unfolds, their love-hate relationship unravels; their quarrels increasingly intensify and eventually it all culminates to an explosive crescendo.  This could be seen as repetitive but the ever-present comedy which is sharp, witty and dripping with linguistic irony keeps things fresh and entertaining.

It’s hard to believe Private Lives was penned over eighty years ago as, tweaks aside, it still manages to feel modern and as relevant as though it were written yesterday.  It has been revived many times over the years but with this production in particular, what really brings this play to life are the actors.

Matt Whelan was the star of the show for me.  He plays the superficial and caddish Elyot to perfection, providing a great comedic physicality to the character and delivering a plethora of excellently written and brilliantly timed one-liners with great ease.  Mia Blake’s stage presence is electric and perfectly complements Whelan’s performance as the sexy and sophisticated Amanda.

Fresh off The Pride*, Silo’s previous production, Sam Snedden is a natural fit for Victor, the sensible moral compass of the group and antithesis to Elyot.  He once again showcases his remarkable ability to fully embody any character that he is given.  Finally there’s Sophie Henderson who portrays the young and naïve Sibyl wonderfully, giving Whelan a run for his money delivering some great comedic moments too.

Shane Bosher, who previously directed TRIBES**, triumphs again as director in this production.  He is clearly an actor’s director for he has succeeded in bringing out the best performances in these actors making it an absolute delight to watch.

Private Lives is an exceptionally written story that transcends time and is romantic comedy at its best.  It will have you hooked from start to finish and leave you wanting more.

The Whimsical Banana rates Private Lives: 4/5 bananas!

Sexy, risqué, ridiculously fun and absolutely hysterical – Silo Theatre have done it again!

Private Lives is playing at the fabulous Rangatira at Q until 29 September.  To book tickets, click here.

*Read my review of The Pride here.

**Read my review of TRIBES here.

Congrats to The Boy and Monsieur Lucont!

Posted by faithashw in Comedy and tagged with , , , , , , , , , , , , , , , , , , , , ,

Edinburgh Festival Fringe is all done and dusted for the year and what a great one it has been for my two favorite comics!

 

Massive CONGRATS to fantastic prop comic, super talented physical comedian and all round awesome person, The Boy with Tape on his Face for winning a Broadway Baby Bobby Award and the Foster’s Edinburgh Comedy Awards Panel Prize 🙂  Include the many five-star reviews and The Tape Face Tapes (The Boy’s launch into Tellyland), it has undeniably been a #TapeFaceInvasion this year in the comedy world – and mine! – bring on the #TapeFaceRevolution, I say!

Also nabbing a comedy victory is my favorite dashing French raconteur 🙂  Huge congrats to exceptional character comic and brilliant wordsmith Marcel Lucont for winning the Amused Moose Laughter Award!  There really is no show out there like his so this is a much deserved and completely unsurprising win, in my books.  I am already so excited for the DVD – Marcel in the comfort of my own home, what could be better?!

UK readers, if you missed these two amazing, top notch comedians at the Fringe, keep an eye out as they may be coming to a town near you!  The Boy is currently on his autumn tour (details here) and Marcel is also touring around the UK (find out where here).  I cannot recommend these two enough so if they are performing where you are, two words: JUST GO!!

(Feel free to check out my reviews for More Tape and Gallic Symbol if you need more convincing 😉 )

Congrats again on all the success, Sam and Alexis, am so very happy for the both of you!  Also a big “Well Done!” shout out to Gag Reflex and Objective Talent 🙂

Review: Drowning in Veronica Lake

Posted by faithashw in Review, Theatre and tagged with , , , , , , , , , , , , , , , , , , ,

There’s just something about Hollywood in the 1940s that just oozes glamor.  Even though there was undeniably a dark side too, the 40s is still one of my favorite eras in American history.

If you are nodding in agreement, then you are going to absolutely adore Drowning in Veronica Lake, the fourth and latest production by Flaxworks.  A one (wo)man “tell all” show delivered as a monologue, Veronica Lake has come back to life to tell us about her steady rise to stardom which was then followed by her equally steady fall from grace.  She shares everything from the time she dined with the President to how she was sued by her own mother.  I thought the moments when she broke the Fourth Wall and addressed the audience directly was a great touch.

Alex Ellis portrays the sexy screen siren to perfection.  Her Old Hollywood drawl is true to the period and I felt she embodied the spirit of Veronica not just physically but emotionally as well.  While she is most definitely the star of the show, coming in at a very close second has got to be that stunning dress!  Sara Taylor and Elizabeth Whiting  really have to be commended for putting together such a gorgeous garment.

The dress plays a prominent role in the show, not just physically but metaphorically as well.  When you take your seat in the lovely-as-always Loft at Q, Veronica is already on the stage waiting and your eyes are immediately drawn to the dress which covers the entire stage.  As the narrative progresses and we start to see Veronica’s steady decline into drunken obscurity, we see the dress start to lose its shape and form too.  The symbolism of this is all the more powerful and effective due to the exceptionally paced narrative.

Criticized and stifled by her over-bearing mother before being treated the same way by the controlling Paramount Studios, we even see Veronica start to wrestle with the dress itself before eventually “drowning” in it.  I thought the dress being used as a metaphor of her being trapped in an industry where she struggled to be recognized for her talent and not just her “peek-a-boo bangs” was very clever.

Alex also momentarily goes off-character throughout the story to play other people in Veronica’s life, most notably her mother.  She does this seamlessly, switching between voices, accents, demeanor and even posture with lightning speed.  She performs essentially rooted in place for the entirety of the play but the well-timed use of light, sound and music to indicate a change in set and scene helped provide depth and “movement” to the show.

What makes this play extra special is the fact that it cannot really be considered a tribute to Veronica Lake, though it could easily be mistaken as one.  It does celebrate her legacy but the stories that are told are actually what was generated by the studio, the media and even Veronica herself during her time in the spotlight.  Many of these were suspicious and conflicting and we are reminded of this through the tongue-in-cheek nature of the script.

Drowning in Veronica Lake is dark, haunting, incredibly nostalgic and a must see, especially if you are a fan of the Golden Age of Hollywood.  The story of her life is both intriguing and tragic but sadly not unique.  This play provides a fascinating, “firsthand” insight into what happens on the other side of the fame and bright lights of Tinseltown.

The Whimsical Banana rates Drowning in Veronica Lake: 4/5 glamorous bananas!

Brilliantly written by Phil Ormsby and under the masterful direction of Simon Coleman, Drowning in Veronica Lake is playing at the fantastic Q Theatre until 1st September.  For more details and to book tickets, click here.  For a taste of Veronica, check out this video.

Review: Educating Rita

Posted by faithashw in Review, Theatre and tagged with , , , , , , , , , ,

Theatre has really evolved, especially in recent years.  These days most productions use visual and audio spectacle and employ innovative and sometimes unconventional ways to tell the story to the audience.  At the preview night of Educating Rita I was reminded that sometimes going back to the basics and keeping it simple can be just as entertaining and equally as effective.

Written by British playwright Willy Russell and under the skillful direction of Adey Ramsel, Educating Rita is Newmarket Stage Company’s debut production and is truly an enjoyable watch.  As soon as you take your seat, your eyes are immediately drawn to the set.  The story plays out entirely in a university office in 1980’s England.  Messy and filled with old furniture and shelves of all sizes (which we soon learn holds more than just books!), you really do get a dusty and lived-in sense amiss the organized chaos.

George Henare, theatre veteran who needs no introduction, plays the cynical and disillusioned tutor Dr Frank Bryant while Jodie Hillock, who was most recently in Silo Theatre’s TRIBES*, plays Rita, the bubbly and ambitious student who will not take no for an answer.  Rita has an unbridled eagerness to learn which does not sit well with the world-weary Frank who has lost his thirst for knowledge and passion for teaching.

*You can read my review of TRIBES here.

A failed poet (or so he thinks) and struggling alcoholic, Frank is initially ever so slightly annoyed but mostly bemused by Rita’s endless energy and curiosity but with each lesson she slowly begins to win him over.  In the first act, we see Frank (albeit somewhat reluctantly) teach Rita to appreciate the finer things in life; he is very much a wealth of knowledge and he even gets persuaded into taking Rita to the theatre for the first time.  There is a clear shift in the second act.  Having gone away for the summer, Rita has returned more exposed and educated and soon the student becomes the teacher as she begins to teach Frank a thing or two.

I really enjoyed watching the bond between the two characters grow and blossom throughout the play.  This really allowed George and Jodie to showcase their acting range.  As Rita’s knowledge increases the gap between the two individuals diminishes and soon their relationship becomes very much that of peers.  When Frank invites Rita over for dinner, while Rita is concerned that she will appear inferior next to the other guests, Frank really only just wanted her there for her company.  Similarly when Frank’s alcoholism begins to take over and it looks like he is about to be engulfed by his insecurities and loneliness, it is Rita who has his back.

The cluttered set coupled with George and Jodie’s compelling stage presence marry well to fill the space and effortlessly hold your attention from start to finish.  Their passionate performances of their characters are a joy to watch – George’s excellent facial expressions bring a welcome element of comedy into the story and Jodie embodies the carefree and playful Rita perfectly.  I also thought her command of the accent was impressive and very believable.

Educating Rita is heartwarming, witty and an incredibly entertaining “feel good” theatrical production.  It talks about friendship, self-discovery, freedom and what it means to be happy – something we all can relate to.

The Whimsical Banana rates Educating Rita: 4/5 bananas! 

I am already looking forward to the next production!

Newmarket Stage Company’s Educating Rita plays at the tiny but cozy Factory Theatre in Newmarket until the 8th September.  For more information and tickets, click here.

It’s all about The Pride

Posted by faithashw in Review, Theatre and tagged with , , , , , , , , , , , , , ,

On leaving the Herald Theatre last night, I couldn’t help but feel a sense of great pride (no pun intended!) at the fantastic theatre scene we have here in Auckland.  Makes me very proud to be a part of this big little city!

Silo Theatre’s The Pride hits the nail on the head on all accounts – outstanding cast, exceptionally written, simple but innovative set design and perhaps most importantly, a play that succeeds in being both entertaining and thought-provoking.  The play is performed by a mere cast of four under the superb direction of Sophie Roberts and depicts two different worlds that are fifty years apart.  In 1958 we witness the shame and anguish from a forbidden love between two men whereas in 2008 the two men are openly together but their love is riddled with betrayal and lust.

The characters may have the same name but they are not the same person.  They are, however, intrinsically linked; their actions indirectly affecting the other, and the “bigger picture” through time.  Through the clever moving of the glass panel backdrop and simple relocating of the set, the narrative transitions between the different times seamlessly and the actors swap between their two characters effortlessly too.

I was thoroughly impressed by Simon London’s portrayal of both the darker and troubled 1950’s Phillip and the more carefree and evolved Phillip fifty years later.  The subtleties in his performance – the nervous twitches, the inflections in his voice, differing postures and body language – are remarkable and really showcase his skills as an actor.

I felt there was not too much of a leap between the two Olivers but still a solid performance from Kip Chapman.  His excellent facial expressions and animated delivery of his lines (particularly as the 2008 Oliver) were what stood out for me.  I had last seen Kip in Black Confetti (my review for that can be found here) where he played quite a dark character so it was quite refreshing to see him tackle something completely different.

Sylvia takes up the third spot in the complicated love triangle that unfolds in this story and she is played brilliantly by Dena Kennedy. Through her expressive and highly emotive performance you can’t help but just root for her in both worlds.  The chemistry that the three share when together on stage is just amazing, especially the awkward social exchanges in the beginning.

Sam Snedden is the fourth and final cast member and although he is what you would call a “supporting act” his skillful performance of three very different characters demands your attention and is absolutely top notch.  And while he may not be a part of the central trio, the characters he plays are integral to the story because they represent the views of society on homosexuality and how they’ve changed.

The play tackles a whole lot; love, desperation, oppression, freedom and loneliness so I left The Pride feeling pretty emotionally spent – but in a good way!  It is an extraordinary play with bite and a lot of depth because it is also a thinly veiled social commentary about the changing attitudes towards homosexuality over the span of fifty years.  Every character embarks on an emotional journey and we are right there not only to see it all happen but we are swept away with them too.

Thank you, Alexi Kaye Campbell for writing this superb and important theatre piece and thank you, Silo Theatre for bringing us this simply incredible production!

The Whimsical Banana rates The Pride: 5/5 Bananas!

At times intense and confronting, but also incredibly engaging and uplifting with an extremely talented cast.

The Pride plays at the Herald Theatre until September 1st .  For more information and tickets, click HERE.