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Category Archives: short plays

Dickless

I’ve managed to get to nine theatrical performances as part of Midsumma this year, which is more than I’ve managed in the past… and although I’ve enjoyed all of them on one level or another, none have wowed me quite like Justin Sider’s Dickless.

Perhaps there’s an element of novelty: I’ve seen drag kings perform in a few places, but this is the first feature show I’ve seen from any drag king. And he did the one thing I love to see drag artists doing more than anything else: their own vocals! But in essence, the wow factor here is, quite simply, balance.

On face value, Justin Sider’s show sits neatly into the farce category… it is light and hilarious, and features a contiguous plot with no extraneous filler or diversion. He maintains a consistent character who is likeable and instantly engaging, and he draws the audience into the farcical scenario—of a competitive lap dancer who misplaces his penis—with witty and relatable humour that is at once crass and wonderful. No small achievement there. But the beauty of this is that it packs (if you’ll pardon the pun) into this farcical story a simple and digestible moral: that it is ok to be dickless.

The resulting affirmation, delivered with a little pathos and lashings of hilarity, is absolutely uplifting in every way.

Sadly, it appears the show has finished its current run, so if this is the first you’ve heard of it, you’re too late… the last performances I can find are in Albany WA… which, frankly, may be worth the four day drive!

 

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Short+Sweet Sydney 2013 (Week 4)

The fourth week of Short+Sweet’s Sydney festival opened tonight, and it was an opening I could hardly wait for. My play, The Commuter, is in this week’s line up, so it was always going to be an exciting night.

It surprises me how deep the emotion runs of seeing my vision for a play realised on stage. The cast Luke Berman pulled together for The Commuter gave me one of the greatest buzzes I’ve experienced in a long time, and I think Adam O’Brien captures beautifully the nervous white guilt phenomenon I was exploring in this play. It doesn’t wear off, that cathartic feeling of seeing something you imagined into existence come to life on stage, and I feel truly indebted to these performers for the work they’ve put into the play.

I knew Geoff Sirmai from his performances in Canberra of Joanna Weinberg’s Every Single Saturday, and was very pleased to see him deliver the American Tourist in The Commuter with such great energy. Charlotte Connor admirably balances the manic and focused nature of the mother, and Nik Nikitenko is amazing as the eight-year-old boy whose instincts spark the commuter’s catharsis.

I have something of a bias perhaps, but I think The Commuter is a great way to end this week’s Short+Sweet offering. It is preceded by some excellent plays, particularly Jilted, which starts the second act. Kerrie Spicer’s script is hilarious and it is delivered with great timing by its cast. Sarah Knowles in particular should be commended for the difficult task of delivering her character’s pathos honestly enough for Sam Smith’s humour to shine.

I was also particularly taken with Hide, a very dark comedy that blurs notions of shelter and protection, in which Laura Holmes and Chris Miller keep the audience on edge for just the right amount of time (which in a ten-minute play festival is probably about nine minutes). Josh Hartwell’s script for A Different Client is both raw and heart-warming, which is a rare and challenging combination, and Greg Wilken and Roberto Zenca have drawn Hartwell’s characters out wonderfully.

But nothing outshines the joy of seeing my script come to life again, and its position at the end of the evening just adds to the pleasure of seeing the thing realised.

This week’s offering from Short+Sweet runs til Sunday, and there are four more weeks of short plays before the Gala Finals in March. Bookings and more info from Short+Sweet.

 

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22 Short Plays

Opening with a convivial vibe at The Street Theatre tonight, 22 Short Plays by David Finnigan is a series of shorts carefully drawn together from longer works and staged by Melbourne’s MKA.

It should not be taken as a bad thing that I really don’t want to see the more complete scripts these shorts came from. As they stand in this context, they’re often funny and always clever. While most of the characters tend towards either caricature or the absurd, there is the odd moment when something jumps out as rather more insightful, and the absurdity of the real world dwarfs the absurdity on stage. But it’s not often this kind of concept drama plays out well in long form, and perhaps Finnigan is a master of the short form.

The rest of this post is published on Australian Stage.

 

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