Theatre: Glengarry Glen Ross

By David Mamet

Little y Theatre

Directed by Mark Storen

Designed by Fiona Bruce

Featuring Georgia King, Ella Hetherington, Caris Eves, Holly Garvey, Leanne Curran, Alexandra Nell and Verity Softly

Music by Andrew Weir and Ben Collins

Blue Room Theatre

Until December 8

Leanne Curran and Georgia King

There’s a reason Glengarry Glen Ross, David Mamet’s Pulitzer, Olivier and Tony award-winning 1984 drama, is having major revivals all across the US.

It can be found in the forsaken suburban tracts and vacated foreclosures that have hollowed out many American cities, so much like the worthless developments that Mamet’s salesman are hawking to their unsuspecting clients.

Little y Theatre’s production at the Blue Room has an all-female cast (although it’s required to use the script’s male character names and pronouns). Even if you’re not a devotee of gender-swapping theatre, a revival of a play about real estate is as appropriate a place as any to do it.

Cabaret: Meow Meow

Astor Theatre

November 16, 2012

I had a diverting conversation with my wife on Friday night about the allure of the extraordinary Melissa Madden Gray, the artist known as Meow Meow.

She briefly wondered whether the boundlessly pneumatic cabaret artist appealed more to blokes. And as I helped Meow crowd surf over our heads while she sang Come Dance with Me, I confess I was reminded of Bob Menzies’ famous “I did but see her passing by …”

But Meow is much more clever than that. Her full-frontal attack on glamour, her insurgency in the war of the sexes never says “come hither”. “Come over here and do what you’re told” is more like it. Whatever empowerment is, that’s what Meow Meow is peddling. She’s got a joke about what boys like and guys want – and the women are in on it.

Link here to the complete review in The West Australian

Theatre: Managing Carmen

Black Swan State Theatre Company/ QTC

Written by David Williamson

Directed by Wesley Enoch

Designed by Richard Roberts

Lighting design by Trent Suidgeest

Sound design by Tony Brumpton

Audio Visual design by Declan McMonagle

Featuring John Batchelor, Tim Dashwood, Claire Lovering, Anna McGahan and Greg McNeill

Heath Ledger Theatre, State Theatre Centre

Until December 2

At 201cm tall, David Williamson could have been an AFL ruckman. Instead, he used his 1970s heyday to establish himself as Australia’s pre-eminent, and most bankable, playwright.

With Managing Carmen, Williamson returns to footy 35 years after The Club, his signature hit about shenanigans at a barely-disguised Collingwood.

We’re back at the Pies, but this time it’s conniving managers and their precious players – rather than coaches and board members – who take centre-stage.
As an exposé of big-time sport, it’s 30 years out of date; as an argument for tolerance and honesty, it’s wafer-thin and unmemorable, and, in a gobsmackingly horrible first half, it reduces its actors to the grossest of caricatures.

But here’s the thing. Like a battered old champ having a bad day, Williamson demands to be taken on his own terms, and treated with caution if not respect.

Link here to the complete review in The West Australian 

Theatre: One Night Echo

The Duck House

Written by Gita Bezard

Directed by Kathryn Osborne

Performed and devised by Alissa Claessens, Brendan Ewing, Fran Middleton, Will O’Mahoney and Tyrone Robinson, with Tim Watts

PICA

November 8 - 17, 2012

Fran Middleton, Brendan Ewing and Alissa Claessens

For students of Greek mythology (and, after a quick refresher course on Wikipedia, us mere mortals), the central conceit of The Duck House’s stylish, brittle party piece at PICA is a delicious game of spot the nymphs and satyrs.

The party in question has been thrown by Theo (Will O’Mahoney), whose unrelenting narcissism gives his eponymous alter-identity away immediately. He’s hired a chick named Echo (google “Echo, Greek mythology”) to serve drinks. The guests arrive; his diffident, intelligent mate Eddie (Brendan Ewing), the magnetic, luminous Celeste (Alissa Claessens) and a lithe, shadowy young man (Tyrone Robinson) with hair swept over like horns. She is Selene, goddess of the moon; they are her lovers Endymion, the astronomer, and Pan, the goat, the god of the wild. This is no safe place for either Echo the nymph or Echo the girl, and, as in the myth, it tears her apart.

Link here to the complete review in The West Australian 

Theatre: Picasso's Goldfinch

Written by Tom Jeffcote

Directed and designed by Lawrie Cullen-Tait

Performed by Andrew Hale and Tiffany Barton

The Blue Room

Until November 17

“They ought to put out the eyes of painters as they do goldfinches, in order that they can sing better.” The famous, if a little woolly-headed, quote from Picasso is the reference point for Tom Jeffcote’s story of a painter and the women who shape his life.