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Tag Archives: Lachlan Ruffy

The Book of Everything

book of everythingLet me just say this up front: there is nothing funny about domestic violence. However, if you don’t laugh all the way through this play, there’s something wrong with you! I would guess the only people not laughing would be abusers themselves, so maybe we should keep one eye on the auditorium during performances!

Canberra Repertory’s whimsical production of The Book of Everything is a magical piece of theatre that could transport someone of any age back to their childhood. The simple, very human joy of simply telling a story is not lost in the dark themes that emerge…

The rest of this post is published on Australian Stage.

 
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Posted by on Friday, 13 September 2013 in Canberra Repertory Society, Canberra Theatre, Theatre

 

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Les Misérables

les miserablesJust quietly, I think Canberra Philharmonic have outdone themselves with their latest rendering of a classic musical. I mean, it’s nothing terribly innovative, the staging is much what you’d expect for any other rendition of Les Misérables, and the set, while pleasant, goes through a few clunky moments. But the performances drawn out of these ‘amateur’ performers is nothing short of spectacular.

Dave Smith’s Valjean is a perfect match for Adrian Flor’s Javert, and the two milk Schönberg and Boulbil’s book for every hyper-sentimental note it’s worth. Their energy and focus, while admirable, is upstaged by other principals, particularly Kelly Roberts’ Fantine, Mat Chardon O’Dea’s Marius, Laura Dawson’s Cosette and Vanessa de Jager’s Eponine. Their energy filled Erindale’s cavernous auditorium, and they must be finding the run absolutely gruelling. The rest of the cast are pretty impressive too, on the whole.

I found the performance on the whole moving, and the staging, while predicable, was solid. The orchestra, though it needed to be hidden under a fully extended stage, was in fine form.

The whole evening hangs together beautifully, as evidenced by the full standing ovation with which this late-run audience honoured the splendid cast and crew. This is a great night out, and you’ve got one more week in which to get along and see it.

 
 

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Rent

RentEveryman Theatre has opened a fine production of a modern classic at the Courtyard.

The story of a group of impoverished friends struggling to make their name in New York under the shadow of HIV/AIDS, Rent is among the longest-running Broadway musicals, having been performed at the Nederlander Theatre from 1996 to 2008. Its historical significance (both social and theatrical) is great, and it is starting to show its age, with a few obscure lines now highlighting the changes that have come about in western society’s responses to HIV/AIDS and homosexuality in the last decade. It remains, however, a very poignant story, highly developed in character and plot; qualities that are extremely rare in musical theatre.

It can’t be denied that Rent is a big show. Nothing about it is intimate; its themes are as lofty as its music is histrionic. And its characters, while well-developed, are nonetheless representatives of archetypes more than they are individual personae. So to squeeze this vast musical into the Courtyard at the Canberra Theatre Centre is a curious choice. Perhaps it is the bite…

The rest of this post is published on Australian Stage.

 
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Posted by on Thursday, 6 December 2012 in Canberra Theatre, Everyman Theatre, Musical Theatre, Theatre

 

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Lost in Yonkers

Theatre 3 has seen some fine productions over the years, but few of the calibre of of Rep’s current production of Neil Simon‘s Lost in Yonkers, the preview for which I saw tonight.

Lost in Yonkers is apparently a well-known play, which simply reveals my ignorance, because I’d never heard of it until I heard about Rep’s production. It’s the story of two brothers left with their cantankerous grandmother when their recently-widowered father has to go on the road to repay the debts incurred in the course of losing his wife to cancer. The Second World War being underway, and the Great Depression just barely relegated to memory, opportunities are few, but the loyalty of this barely functional family forms a great basis for Simon’s exploration of human relationships.

And the cast delivers Simon’s characters with aplomb. Lachlan Ruffy has received more than a few compliments for his theatrical activities, and this production demonstrates how well-deserved they are. His performance of Jay strikes a careful balance between the impetuousness of childhood and the control of a maturing adolescent. He is complemented wonderfully by Pippin Carroll, who plays the younger brother Arty with a comparable balance of naivety and wisdom beyond his years.

Bridgette Black’s Bella brought a lot of energy to the stage throughout the show, and with just the right amount of pathos to be able to carry off her more intense monologues as the plot reached its crescendo, without losing anything from the character’s comic qualities.

It is the illusion of ease with which the play is delivered that really stamps this as a production of the highest calibre. There is no point at which the actors appear to be labouring, which of course indicates that they’re working harder than most do. This production has that wonderful quality that marks all the best productions; a simple, forthright telling of a story, with nothing to draw our attention to the artifice of the theatrical process. It puts the audience at ease and creates exactly the right environment for the suspension of disbelief.

One of the noteworthy elements that goes into producing this effect with this production is the use of the New York accent. One of the most difficult American accents for Australians to emulate, this cast have pulled it off admirably. Even Paul Jackson, who may be thought to have had a head start on the accent, must have worked hard to get his gangster right. Despite a few slips of pronunciation from one or two members of the cast, the greatest achievement here is the uniformity of the accent across the cast, which is, when using foreign accents on stage, more important that accurate emulation from any individual actor. And when it comes to the use of foreign accents on the Canberra stage, I’ve rarely been convinced; this may be only the second or third Canberra cast who have caused me to forget that they’re a bunch of Australians bunging on an accent.

Lost in Yonkers is a solid production; one of the very best I’ve seen on the Canberra stage in my (almost) fifteen years in this town. Brilliant performances, superb direction, a great set, clever lighting and Neil Simon’s excellent script make for a laudable production. The rule here is, see this show, or forfeit the right to speak with any authority on the quality of theatre production in Canberra. That is all.

 
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Posted by on Thursday, 13 September 2012 in Canberra Repertory Society, Canberra Theatre, Theatre, Theatre 3

 

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