RSS

Monthly Archives: July 2012

Ngapartji Ngapartji

The Butterfly Effect is often used to describe the confluence of seemingly unrelated and remote causes to social, political or psychological effects that are otherwise beyond comprehension. On seeing Ngapartji Ngapartji tonight, my first thought is whether writer Scott Rankin was aiming to use Maralinga and its aftermath as irrefutable evidence of the Butterfly Effect beyond the realm of physics.

In this epic work, Trevor Jamieson tells the story of the Maralinga nuclear weapons tests from the perspective of the Anangu people of the Western Desert. Through narration, song, mime and film, Jamieson and the rest of the cast pull together loose threads of culture, language and political history into a compelling piece of theatre, but what is truly remarkable is how, from the Anangu perspective, the confluence of…

The rest of this post is published on Australian Stage.

Related articles

 

Tags: , , , , , , , ,

A new theatre blogger is about in Canberra!

So I was scrolling through Facethingy for something interesting this morning, and lo and behold, I was successful. That doesn’t happen often!

I came across a link to a new blog about theatre in Canberra. Again, anonymous, and seemingly a little critical of Canberra’s slightly longer-standing anonymous critic, Max, who’s had a six-month head start and has ruffled a few feathers. This blogger, who goes by the title That Guy Who Watches Canberra Theatre is rather more modest and wants to increase conversation about theatre in Canberra, which I appreciate rather more than Max‘s claim that whatever s/he thinks is Gospel. Well, I congratulate That Guy on that, and wish him all the best. I also look forward to offering the odd pingback where we happen to post about the same show.

My one little hesitation is that I’m not fond of the anonymous critic idea generally. It has some merit, since it allows the critic to be completely candid about people s/he might otherwise just pay lip service to, but it also encourages that most useless form of criticism, the attack. Max has been known to tear artists down under the rather bemusing motto of being “objective, honest and accurate” (objectivity is of course impossible in a critic, who by definition must take a position; and an accuracy of opinion is hardly something to distinguish any individual critic from any other (for all anyone knows every critic’s expression of his/her opinion has always been accurate); though I value the honesty). Max is rarely as aggressive as the worst of the critics at the Crimes (a significant achievement!). So while I can understand why a critic might want to remain anonymous, and don’t really object, I just don’t see enough value in anonymity. If opinions are personal, they should be owned by a person and not paraded about as gospel.

I’m aware I’m sitting in a glass house here; I haven’t always focused on what I like, which was my intention for this blog when I started it four years ago. But nonetheless, I stand behind my opinions and own them. My real name is all over this blog and everything that links to it, and anyone can click through or search for my Facebook or Twitter accounts to hurl abuse right back at me. There are photos of my face so that if you don’t know me and you object to something I write you can approach me the next time you see me in a theatre foyer and punch it. Even my phone number is here, freely available for you! Anyone can post a dissenting point of view in response to my posts, and know who they’re having a conversation with. When I review for Australian Stage, I need to be more forthcoming, and I don’t get the privilege of simply not writing about shows I really don’t like. On my blog, though, I can just speak my mind about what I do like and save my vitriol for Andrew Lloyd Webber, who truly deserves it for his criminal aversion to character and plot.

At times, I’ve found myself and people I’ve worked with desperately discouraged by the Crimes’ most viscous and disreputable reviewers, and though their reviews aren’t anonymous, I fear the same level of vitriol could develop as a result of Max and That Guy‘s anonymity. It doesn’t really help, and this kind of critic potentially leads great artists to quit and exit the field based on one irrelevant person’s opinion before they’ve created their greatest work or found what they’re really good at. I prefer the philosophy of pointing out what I value and hoping the artist does more of that. I certainly hope that no artist I’ve been critical of sees my opinion as being more important than anyone else’s.

The two posts currently up on That Guy‘s blog are reasonably balanced and positive, so I guess time will tell whether the anonymity will be a blessing or a curse. I just hope it doesn’t become a haven for discouraging the wonderful artists who make up Canberra’s theatre community. Overall, it’s just great to have another blog about Canberra theatre around, and I’m looking forward to a greater diversity of opinions being expressed (especially because That Guy‘s no great fan of Andrew Lloyd Webber). Have a look at his review of Free Rain’s Cats here.

 
7 Comments

Posted by on Sunday, 22 July 2012 in blog, Canberra Theatre, news, Theatre

 

Tags: , , , , , , , , , , ,

The Imaginary Invalid

What a shame not to have made it to opening night for this fun little gem! The Wednesday night audience I joined was rather small and far too subdued for such a funny play so energetically brought to life by Centrepiece Theatre, but it was a lot of fun anyway.

I think this may be the third production of Moliere‘s work that I’ve seen from Centrepiece. The Miser, staged in 2005, remains one of my fondest memories of a night of comic theatre, and I think there was another in between. It has been some years, though, and too long to wait for another instalment.

This largely-forgotten and very old play rests on the even older plotline of marriages arranged by parents that don’t meet the expectations of the betrothed, but its genius plot twist is that the central character, Argan, is the imaginary invalid of the title, a wealthy hypochondriac trying to marry his daughter to a doctor in order to save money on medical bills. It was Moliere’s last play, and though he was playing the lead role in its premiere, he collapsed during the fourth performance and died shortly afterwards. Some say this is irony, but it seems Moliere’s malady was apparently not adequately imaginary!

The cast deserves a medal for their magnificent performances. Erin Pugh would upstage the entire cast, were her over-the-top mannerisms not generous to a fault. Her ability to be so very expressive (and excessive) while still drawing attention to other performers is remarkable, and I am not trying to dismiss the high calibre of performance delivered by all members of the cast, but this production definitely belongs to Pugh!

I am not intimately acquainted with the script or story of The Imaginary Invalid, but it struck me that, in comparison to the performances of the rest of the cast, Tony Turner’s Argon was rather subdued. Perhaps this is part of the text or a directorial choice, but it seemed to me a rather significant gulf. Not an entirely inappropriate one, though; just slightly unbalanced and maybe a little awkward.

The cast worked tirelessly to raise the energy levels, but it was a tough ask with such a small audience in such a large auditorium, and the performances fell short of their potential not through a lack of quality material in the script or technical difficulties or a lack of talent, but simply because the energy levels of the performers really need, in a production like this, to be matched by the energy levels of the audience. It really brings to the fore the difficulty of finding an appropriate venue in the capital. For this production, The Q was just too large. The Courtyard at Canberra Theatre Centre would probably have been better, but that’s awfully picky. It would be better yet if Canberrans would simply turn off The Voice (that steaming pile of… nevermind), get off their lazy arses, and go see some performers with both talent and an eye for a good material. But we all know that’s not going to happen, which is why I think we need more smaller venues. We have nothing really to match Sydney’s Belvoir or Stables theatres, and that’s a shame, as these theatres have just the right sort of atmosphere for our ‘crowds’.

But I digress. This production is all about a little bit of silliness, and it is admirably carried by a spectacular cast whose generosity in engaging the audience is faultless.

 
 

Tags: , , , , , , , , , , , , , , , , , , , , ,

The Bugalugs Bum Thief

Playing at The Street Theatre this week is Monkey Baa’s latest incarnation of one of Australia’s best-named plays, The Bugalugs Bum Thief. No, it’s not quite Shakespeare, but it’s closer than one might assume.

Its central character, Skeeter Anderson, just one young member of Bugalugs’ coastal community, wakes up one morning to find his bum is missing, which proves inconvenient for him. He soon finds that just about everyone in town has had their bum stolen, including his friend Mick Misery, for whom it is not so inconvenient, as it means his mum can’t smack him. The advantages of life without a bum, however, do not prove to outweigh the disadvantages, and Skeeter sets out to identify the bum thief and locate everyone’s bums.

The entire town is brought to life through the generous energy of just three performers who present mums, dads, teachers, police and sailors as well as their main role as a child. It may not be universally accepted as a compliment, but Gideon Cordover, Carl Batchelor and Mark Dessaix make excellent children, which is particularly helpful when…

The rest of this post is published on Australian Stage.

 

Tags: , , , , , , , , , , , , ,

Renaming my blog

The few people who read this blog may have noticed some changes. I recently moved it from Blogger to WordPress (which was a great move, by the way), and I’ve overhauled its categories and tags. That’s all pretty superficial though. The real change has been longer and more gradual, and represents an evolution in what this blog really is.

I started this blog four years ago following a series of conversations with Canberra theatre folk who were particularly disappointed with the quality of theatre criticism in Canberra. My intention was to do what most Canberra critics didn’t do: write nice things about good theatre. Of course there were a few critics at the Crimes and other media outlets who tried to be constructive, but most just berated performers, writers and directors and like many others I found myself on the receiving end of their overwhelming efforts at comprehensive discouragement. I wanted to be an encouraging voice.

So much for my good intentions.

I have tried to be positive in this context, and there have been plenty of times when I just haven’t written about a production because I found it actually lived down to the critics’ expectations[1]. But things change. I started writing for Australian Stage, and unlike a blog post where I can just be myself and say what I liked, in that context I have to be more objective. I also started writing about films, which I love just as much as theatre; and sometimes television can be just as cathartic a dramatic experience, so I started writing the odd post about television. And when my day job started flying me interstate every month or so, I started writing about shows outside Canberra.

And in the course of all these changes I also discovered that writing blog posts about what I liked had a really positive impact on my own writing. I knew more instinctively how to build characters and structure narratives because when I wrote about other people’s shows, I reinforced the positive responses in my mind. The very act of writing a blog has become something like a journal of my post-tertiary education.

And that’s why I don’t care that so few people read it.

But since my blog has become such a cathartic procedure in my development as a playwright, I’m starting to think I should be more deliberate about that. Although I’ve put up a page offering samples of my script, I haven’t written about the process of submitting those scripts to competitions in the hope that someone somewhere with the power to do something about it will do what needs to be done to get the damn thing staged. I should. And from now on, I will.

And that leads me to the request I started writing this post for. If you’ve read this far into my blathering about nothing much really you may have realised that ‘Foyer Talk’ is not a name that sums up what this blog has evolved into. I wasn’t even happy with it when I named it four years ago. I see blogs all over with much cleverer names, and someone called Trevar should definitely have a clever name for his blog.

So, I’m asking you; can you think of a better name for my blog? It needs something that captures the blog it’s evolved into. I’ve thought of “Caterpillar Dreaming”, but that’s über naff and not very clever at all. I also thought of “e-merging playwright” but that’s even naffer than the other, so I’m useless at this. It sometimes takes me months to name a play, so I’m in no hurry with this process, but I would love your help.

And if you happen to come up with the cleverest and not-at-all-naff name, I might just reward you by taking you to the theatre with me[2]. Or punish you by taking you to the theatre with me, if that’s the way you want to look at it. Either way, you’ll get something for nothing.


[1] NB there are other reasons why I might not write about a show, including my rule that I don’t write if I can’t do it within a few days of seeing the show, so don’t assume that if you’ve seen me at your show and I didn’t write about it that I didn’t like it! Or, if you know it was bad, maybe you can assume that!

[2] As long as you live in Canberra. If not, you’ll have to come visit me in Canberra. Unless you happen to live in an interstate capital where I visit occasionally. Or Singapore, where I’m going in October. Terms and conditions apply. I don’t know what they are, but I will figure that out when we come to it. Just suggest a name or two!

 
4 Comments

Posted by on Friday, 6 July 2012 in blog, news

 

Tags: , , ,