Theatre: Dinner (★★½)

Black Swan State Theatre Company
Written by Moira Buffini
Directed by Kate Cherry
Set and lighting designed by Trent Suidgeest
Sound designer and composer Ash Gibson Greig
With Rebecca Davis, Stuart Halusz, Greg McNeill, Kenneth Ransom, Steve Turner, Alison van Reeken and Tasma Walton
Heath Ledger Theatre, State Theatre Centre
Until 29 March 

There’s a line in Moira Buffini’s 2002 play, Dinner, when a woman, overhearing an ex-soldier’s stories of his violent exploits in Liberia, exclaims “You killed a LIBRARIAN??”. Boom-Tish!
Make of that gag what you will, but we can assume those involved in Dinner aren’t approaching the undertaking too seriously. Or at least they shouldn’t be.
Dinner is professionally prepared and well served. It’s just hard to fathom why anyone bothered to reheat it.


Link here to the complete review in The West Australian
  

Theatre: The House on the Lake

Written by Aidan Fennessy
Directed by Stuart Halusz
Set and costume design by India Mehta
Lighting designer Trent Suidgeest
Sound designer and composer Brett Smith
With Kenneth Ransom and Marthe Rovik
STC Studio
Until June 22

By his own admission, Aidan Fennessy has set himself a difficult challenge with The House on the Lake.
The Melbourne playwright’s sad, powerful, National Interest was the standout in Black Swan’s 2012 season.
He returns with a whodunit with only two characters, one of whom, perforce, is the interrogator (a forensic psychologist, Dr Alice Lowe, played by Marthe Rovik). This leaves only one, David Rail (Kenneth Ransom) to be suspect, witness, red herring, perhaps victim or, perhaps, perpetrator.

Theatre: Shrine

Whitney Richards

Tim Winton
Directed by Kate Cherry
Designed by Trent Suidgeest

With Paul Ashcroft, John Howard, Luke McMahon, Sarah McNeill, Will McNeill and Whitney Richards
Heath Ledger Theatre, State Theatre Centre
August 31 – Sept 15, 2013

Shrine, the third of Tim Winton’s annual forays with Black Swan into writing for the stage, leaves unanswered the question posed by his earlier Rising Water (2011) and Signs of Life (2012).
There’s no doubting his quality as a writer, the impact of his language and his instinct for character. He also has a wonderful knack for the transcendent, especially when his characters find themselves alone and exposed to nature.
Is this, though, enough to make him a playwright? Is the poet in Winton also a songwriter?

Link here to the complete review in The West Australian

Theatre: Other Desert Cities

Black Swan State Theatre Company

Written by Jon Robin Baitz

Directed by Kate Cherry

Set and costume design by Christina Smith

Lighting designer Trent Suidgeest

with Janet Andrewartha, Conrad Coleby, Robert Coleby, Rebecca Davis and Vivienne Garrett

Heath Ledger Theatre

Until August 4

pic: Gary Marsh

Black Swan has, for the second time running, mounted a production that improves the material it’s working with. In Joanna Murray-Smith’s Day One, a Hotel, Evening, director Peter Houghton, designer Tracy Grant Lord and a strong cast made a more than satisfying entertainment from an improbable and inconsistent text.

Other Desert Cities, Jon Robin Baitz’s story of familial and political disintegration against the background of lotus land America, has some similar flaws, but they don’t diminish the sparkle of his dialogue, the magnetism of his characters and the quality of the play’s architecture.

The play is given an immaculate, CinemaScope reading by director Kate Cherry; it's dressed to kill by designer Christina Smith (once again producing a set for the Heath Ledger you’d spend your lottery winnings to live in) and lit with technicolor glamour by Trent Suidgeest. In the face of such excellence, there’s not much point picking over the script’s occasional shortcomings.

Theatre: Death of a Salesman

By Arthur Miller

Black Swan State Theatre Company

Directed by Adam Mitchell

Designed by Trent Suidgeest

Sound design by Ben Collins

Featuring Austin Castiglione, Adriane Daff, Eden Falk, Luke Hewitt, Talei Howell-Price, Josh McConville, Caroline McKenzie, Jo Morris, Ben O’Toole, Igor Sas and John Stanton

Heath Ledger Theatre

Until May 25

Trent Suidgeest

The published text of Arthur Miller’s familiar tragedy of the salesman Willy Loman begins with a description, in unprecedented detail, of its setting. The way the play looks, and what its look says, was clearly important to the writer.

The director of this solid, but only partly satisfying, revival for Black Swan, Adam Mitchell, and his designers, Alicia Clements and Trent Suidgeest, also intend for us to read much, and many things, into their interpretation.

Their vast, grim, set is, at once, a dilapidated industrial space with its grimy central pillar, sparse furniture and gigantic outlet fan, or a neglected railway station concourse, a Mean Central Station, its rows of darkened doors leading to unknown, just as neglected, destinations.

The doors, with their concrete stoops, could be the Loman’s Brooklyn neighborhood, the “solid vault of apartment houses around (Willy’s) small, fragile home” Miller described, but, just as easily, they could be the recesses of Willy’s mind, the holes in his past he escapes to and from that dominate the play.

Link here to the complete review in The West Australian

Theatre: Boy Gets Girl

Black Swan State Theatre Company
Written by Rebecca Gilman

Directed by Adam Mitchell

Designed by Fiona Bruce

Lighting design by Trent Suidgeest

Sound design by Ben Collins

Featuring James Hagan, Ben O’Toole, Myles Pollard, Whitney Richards, Helen Searle, Steve Turner and Alison van Reeken

 Heath Ledger Theatre, State Theatre Centre

Until September 30

Alison van Reeken and Myles Pollard

 The opening tableaux of the American playwright Rebecca Gilman’s gripping, malevolent Boy Gets Girl is a striking display of the strengths of director Adam Mitchell’s production.

We find Theresa Bedell (Alison van Reeken), a New York City magazine feature writer, in a set (superbly designed by Fiona Bruce) that is an abstract exercise in perspective, diminishing up a raked stage and down lines of massive re-enforced concrete sections towards a vanishing point obscured in shadows. There’s music, and traffic, but somewhere, close by, Theresa thinks she hears a noise, senses a presence; and we do too. She walks warily upstage towards the darkness, peering into it for the intruder. The stage fades to black. Welcome to her nightmare.

Theatre: The Enchanters

By John Aitken

Directed and designed by John Senczuk

Lighting design by Trent Suidgeest

Sound design by James Luscombe

Featuring Richard Mellick, Nick Maclaine, Ethan Tomas, Ian Toyne, David McLeod, Sam Tye, Edgar Metcalfe, Cody Fern, Andrew Hale, John Pratt, Nick Candy and John Aitken.  

Heath Ledger Theatre, State Theatre Centre

June 1 – 4, 2011

Veteran WA playwright John Aitken has seized the opportunity presented by the opening of the State Theatre Centre to imagine the watershed year of William Shakespeare’s career in The Enchanters, and he and director/designer John Senczuk have fashioned a likeable, albeit patchy, entertainment from it.

It’s a ripping yarn, with cloak-and-daggery at court and lawyers, swords and money in the streets. Aitken has drawn assiduously from his sources, most notably, I suspect, James Shapiro’s terrific 1599, to tell the story of Richard Burbage’s company, the Chamberlain’s Men, and the opening of their new theatre, the Globe.

Aitken can’t resist airing some of the more contentious speculations about Shakespeare, his sexuality and religious and political loyalties among them. Personally, I’m averse to the idea of Shakespeare as a high-class rent boy for the Earl of Southhampton and some of the other detritus of Shakespeariana given credence by the play, but you can be the judge of that.

Link here  to the complete review in The West Australian