Theatre: Joey the Mechanical Boy

The Nest Ensemble
Written and devised by Margi Brown Ash and Leah Mercer
Performed by Margi Brown Ash and Phillip Miolin
Directed by Leah Mercer
Set and costume designer Tessa Darcey
Lighting designer Karen Cook
Sound designer Joe Lui

Until November 22

Margi Brown Ash and Phillip Miolin (pic Leigh Brennan)


In their award-winning Eve (2012), the writer/performer Margi Brown Ash and writer/director Leah Mercer told the sad story of the now-forgotten Australian writer Eve Langley. The biographical details, though, were just a jumping-off point for their exploration of Eve’s rapture, and for Ash’s remarkable performance.
Their new play, Joey: the Mechanical Boy, also deals with real events and people. They may be obscure now, but, in the American frenzy for all things Freudian after WWII, the autistic boy Joey, his so-called “refrigerator mother” and the psychotherapist Dr Bruno Bettelheim, were big news.

Link here to the complete review in The West Australian  

Theatre: Those Who Fall in Love Like Anchors Dropped Upon the Ocean Floor

By Finegan Kruckemeyer
Jo Morris and theMOXY collective
Directed by Adam Mitchell
Designed by India Mehta
Lighting design Chris Donnelly
Sound design Ben Collins
Starring Jo Morris, Renée Newman-Storen and Ben Mortley
Blue Room Theatre until 29 November

Jo Morris (l) Ben Mortley and Renée Newman-Storen

It’s a name to take seriously, despite itself. I don’t mean Those Who Fall in Love Like Anchors Dropped Upon the Ocean Floor so much as its writer, the extravagantly-monikered Finegan Kruckemeyer.
There are many of the good things about children’s theatre in Twifilladutoff, despite its decidedly adult themes and content. Four stories fold across each other over time and space. Each glitters with humour, but a melancholy hangs over them. Love, for all these characters, is as elusive as it is fundamental; life devours both itself and any fool who dares to tell the time. 

Link here to the complete review in The West Australian.

Theatre: Gasp!

Black Swan State Theatre Company and Queensland Theatre Company
by Ben Elton
Directed by Wesley Enoch
Designed by Christina Smith
With Damon Lockwood, Caroline Brazier, Lucy Goleby, Greg McNeill and Steven Rooke
Heath Ledger Theatre, State Theatre Centre
Until November 9

Nothing to get steamed up about: Damon Lockwood (r), Greg McNeill and Steven Rooke (pic: Gary Marsh)

Black Swan wraps up its 2014 season with revivals of two all but contemporaneous comedies; the first was Neil Simon’s 1993 Laughter on the 23rd Floor; now we have Ben Elton’s Gasp!, an update of his Gasping from 1990.
The Neil Simon was a delight; genuinely funny, and a platform for some bravura performances. The Ben Elton? Meh.

Link here to the complete review in The West Australian

Theatre: Metalhead

Tiffany Barton

Creative Collaborations and The Fremantle Festival
Written by Tiffany Barton
Directed by Monica Main
Featuring Della-Rae Morrison, Maitland Schnaars, Caitlin Jane Hampson, Amri Mrisho, Maja Liwszyc and Rubeun Yorkshire
Victoria Hall
23 – 30 October 2014

We’ve seen two plays from and about the Pilbara town of Roebourne here in the last month. Both are the result of long collaborations with the local community, and both spring from the tragedies that have beset that hardscrabble, blighted place. 
The first, Big hART’s Hipbone Sticking Out, has triumphantly reached its potential; it’s as exciting and creatively successful a piece of theatre as I’ve seen.
Tiffany Barton’s Metalhead (at Victoria Hall, directed by Monica Main for the Fremantle Festival) still has some distance to travel.
Metalhead lacks accuracy and development in parts, and some of its characters are hard to grasp. There is, though, undoubted power, unflinching conviction and theatre craft in much of Barton’s writing. She’s shown in work like Diva and Polly’s Waffle that she has no fear of sex or violence, either separately or in combination, in her work, and there are some savage lessons to be learned from it.

Performance: Proximity festival 2014

Fremantle Arts Centre 
until November 2
 
It’s the third year of Proximity, the interactive/ one-on-one/ site-specific micro-festival of performance intensive care.
The curators, Sarah Rowbottam and Kelli Mccluskey (taking over from James Berlyn, who is an advisor to, and performer in, the festival) are really getting the hang of the thing, the only one of its kind in the country.
It’s also likely that Proximity’s audience – the 324 performances over nine days are sold out – knows better what to expect and how to handle its mechanics.
What’s indisputable is that Proximity has found its venue; the Fremantle Arts Centre’s maze of rooms, courtyards, corridors and stairs has a patina built over 150 years of use, and the echoes of its sometimes tragic history whisper in your mind’s ear as you move through it.

Link here to the complete review in The West Australian.

Plague notes: Lily goes bowling

My daughter is rewarding herself for three hard years working in the Japanese education system with an extended trip around the Great Capitals. Since Paris, her guide has been Randy Newman's "Great Nations of Europe" (she's a well-brought-up and dutiful daughter, our Lily).
A few days ago she went to a little bowling alley in Brooklyn which has now gained a certain notoriety.
Which makes the last verse of the song (from 3:00) eerily prescient...

Not that Randy is the only, or the first, with that gift:  

Gare du Midi   
A nondescript express in from the South,
Crowds round the ticket barrier, a face

To welcome which the mayor has not contrived

Bugles or braid: something about the mouth

Distracts the stray look with  
alarm and pity.

Snow is falling, 
Clutching a little case,

He walks out briskly to infect a city

Whose terrible future may have just arrived.

                                         W.H. Auden (1938)


Note: While Auden and Newman's apocalyptic tone is attractively horrifying, the inefficiencies of the present contagion suggest it's unlikely it will be our terrible future (this despite the Australian government's strange reluctance to join in the effort to nip it in its West African bud). 
The fingerpointing and scapegoating of Fox News and its ilk—at times almost implying that the brave and unfortunate Dr Spencer is some sort of bio-terrorist, and accusing the US president of being personally culpable for the panic they themselves are inciting—is particularly disgusting, even by their disgraceful standards.    

Theatre: Welcome to Slaughter

11.47 Productions
Devised and performed by Michelle Robin Anderson, Jo Morris and Emily Rose Brennan
Devised and text by Jeffrey Jay Fowler
Directed by Michelle Robin Anderson and Joe Lui
Set design Shaye Preston
Lighting design Joe Lui
Sound design Brett Smith
Blue Room Theatre
Until 25 October
 
Welcome to Slaughter is a rom-horredy.
It’s certainly not a rom-com (no happiness ever after to be had here), but it’s not slasher, snuff or any of the other forms of horror either.
You could say it’s “a treatment of the disintegration of a romantic relationship by means of the allegorical personification of destructive thoughts, with strong elements of horror and comedy”, but that’s a bit old school, and too long to fit on a poster. So rom-horredy it is. 

Link here to the complete review in The West Australian