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Tag Archives: Ryan Pemberton

The Complete Works of William Shakespeare (Abridged)

complete worksThe expression on the faces of the three actors after their opening night performance said it all: they’d put their whole heart and soul into it!

And why wouldn’t they? The Compleat Wrks of Wllm Shkspr (Abridged), despite being abridged, is one of the most amusing responses to the Bard’s works ever penned. It has been entertaining both Shakespeare enthusiasts and the partners they drag along to the theatre for almost 30 years, and so far it has failed to age.

Covering all 37 of Shakespeare’s dramatic works in under two hours is no mean feat. Granted, they do cover 16 comedies all at once (because they’re all the same anyway), and they merely name a few rather than delving into them, but still, you can understand them experiencing some fatigue at the end of such a night. Truly, if any actor has earned the right to collapse at the end of a performance, it’s an actor in this hilarious show.

And this cast has certainly done it justice.

Ryan Pemberton introduces James Scott as the bumbling scholar, who in turn calls on Brendan Kelly, drawing him into the debacle. The pace begins rather more slowly than I think this piece calls for, but the three certainly picked it up. Perhaps not quite enough to hold the energy where it needs to be, but that will probably slot into place as the run continues and the cast get a better feel for audience reactions.

A great production that both needs and deserves a high quality audience!

 
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Posted by on Wednesday, 22 July 2015 in Canberra Theatre, Honest Puck, Theatre

 

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Short+Sweet Canberra 2013 (Week 1)

Brendan Kelly and Neil Parikh rehearsing for 'Abel C. Mann, Processed Offshore'Right before heading along to the Week 1 performance of Short+Sweet tonight, I squeezed in a short rehearsal with my cast for next week and snapped this great image. I had just picked up the bicorn from the post office, which had arrived from the UK just in time, and I was feeling great about how the play started coming together once the props started to give us some clarity of movement and intent.

Brendan Kelly (foreground of this image) had a curtain call, and I followed him to the Courtyard where I was lucky enough to snaffle a last minute ticket to the first week (I will be better prepared next week!).

I am always impressed by the format of Short+Sweet. The ten minute play is a great form, and the variety in any show is incredible. There was a broad range of styles in this year’s week 1, so I wasn’t disappointed, but there are always standouts.

Finnius Teppett from New Zealand was in attendance for this performance of his play, Reading Lamouche, and it was a novel little experience to see the irony between Brendan Kelly’s roles in Reading Lamouche and Abel C. Mann, Processed Offshore played out, but I was most impressed by the quality of humour in Tepputt’s buzzy little script, which was directed very nicely by Ryan Pemberton.

The ten minute form lends itself to comedy in a particularly natural way, probably because we’re largely used to seeing short stand up routines and sketch shows. I tend to lean towards comedy in my shorter plays (oh heck, I lean towards comedy anyway), but there is something courageous about attempting a fully-rounded character in a drama in such a short space of time. I was impressed by Margaret Allen’s script and performance in House of Cats, which was based on the blog and life experience of Nicole Lobry de Bruyn. The exposition in this piece exhibited a great balance between delivering basic necessary information and engaging the audience in the character’s existence.

And the night ended with one of those ‘plays we had to have’, in Here to Serve You. An unattended shoe in an airport sparks a security scare, and some unconventional sod decides to use common sense, upsetting the status quo, as it were. Yes, it was as predictable as you might guess, but snappy dialogue and nicely balanced performances made it one of the most enjoyable pieces of the night.

As usual though, the judges and the people disagreed with my assessment! Only Reading Lamouche got into the final next Saturday, with these other two noteworthy plays finishing here. And now the pressure is on. I have two plays in next week’s line up, and I’m nervous about both of them, but of course, looking forward to the energy and buzz leading up to Tuesday’s opening. Go to the Canberra Theatre Centre to book your tickets.

 

Correction: I have been put right by no fewer than three more observant individuals than myself! Here to Serve You did indeed make it through to the final, so the only one of the three that made a big impact on me that didn’t make it through was House of Cats. Hopefully House of Cats will get another run at later festivals in the Short+Sweet family!

 

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Short+Sweet Canberra 2012 (Week 1)

Connie challenges Charlie in ‘The Fence’

Last night I had one of those moments. You know, when something you’ve been working on for a while has come to fruition and is about to end. Theatrical folk do tend to go a little over-the-top experiencing these moments, but it is genuinely sad when you see a cast perform a show you’ve been working on for the last time.

So it was with The Fence and The Commuter in this year’s Short+Sweet. I didn’t realise until just before the lights went up on The Fence for the last time that it was the last time I’d see it. And then I realised it would be the last time I’d see them too (even if they get into the final next Saturday, I can’t be there because of a family commitment). For me they were the culmination of five or so pretty intense weeks of casting, rehearsing, preparing, and of course lots of laughing.

The cast I worked with on The Fence was just great. They were extremely committed to the show, so when the Murphy’s Law of Theatre (that if anybody can get sick s/he will) took effect, it was great to see the cast rally around, make changes to the schedule as necessary and finally plough right on through. The actor in question, Tony Marziano, was a trooper and a director couldn’t have asked for more in terms of commitment and effort, and the result was great. Katarina Thane gave a lot to the role of Connie, and I was so pleased to see the vision I had of this kind of suburban Lady Macbeth realised. And it was great to be able to catch up with an old uni friend, Arne Sjostedt, who played the neighbour, John, with great humour.

I hope it did justice to the writer’s vision. It was difficult to have to ask Coralie Daniels, the playwright, if we could cut the script when we found we were quite significantly over the ten minute time limit. The cuts we finally made did make a significant difference to the play’s reference points, but they gave us a stronger ending, and of course brought us within cooee of the time limit. My last play in Short+Sweet, Mr Fixit, was found to be significantly over the time limit, and the cuts were quite brutal. Not so with The Commuter, which I carefully restricted to seven pages (though it still comes close).

The Commuter deals with a strange kid and an American tourist.

I will never get tired of seeing characters that started as a vague image in the dark recesses of my mind come to life on stage. Arne was in this one too, bringing my American tourist to life, and young Henry Maley made a great precocious eight-year-old, with Gabriel Strachan as his aggressively protective mother. But of course it all came down to Simon Clarke’s portrayal of the commuter himself, and I was very pleased that he didn’t turn out to be either too ocker, or in any way a bleeding heart. This character could be portrayed in many ways, and I was really pleased with how closely Simon aligned the character to my vision.

The calibre of plays being performed in this week’s Short+Sweet really is impeccable. I was a little surprised, to be honest, having read Gerry Greenland’s script for Driving the Holden, with how well it translated to the stage. Sometimes you just don’t see the characters in reading the play, and Lis Shelley’s direction has served Dan Holliday and Nick Foong’s efforts well in bringing this story to life. It’s a very strong start to the festival. On opening night, it was disappointing to see the cast of A Short History of Weather drop a line in the middle of their otherwise impeccable performance, and I was so pleased to see the play again last night without the cicadas. They deserve an encouragement award for powering on, especially since the result last night was so effective.

But I think the play to fear in week one is definitely Spit for Tat. The sight gag of lovers spitting water all over each other is funny enough, but performers Scott Rutar and Caroline Simone O’Brien have backed it up with stellar performances that demonstrate some fantastic character development. Despite the somewhat fanciful nature of the script, they’re completely believable in every moment, and deliver what for my money is the standout performance of week one.

Short+Sweet has been a lot of fun, and I’m so glad I managed to participate this year. The Commuter will be available on my scripts page in a day or two, but it’s better to see it than read it, and unless the judges choose it for the Gala Final, tonight’s your last chance!

 
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Posted by on Saturday, 25 August 2012 in Canberra Theatre, Short+Sweet, Theatre

 

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