Theatre: The Red Balloon (★★★★)

By Albert Lamorisse
Adapted by Hilary Bell
Black Swan State Theatre Company
Directed by Chrissie Parrott
Set and costumes designed by India Mehta
Lighting designed by Trent Suidgeest
Sound designer and composer Ash Gibson Greig
With Dylan Christidis, St John Cowcher, Ella Hetherington, Eloise Hunter, Ben Mortley and Sarah Nelson
State Theatre Centre Studio
Until 17 October

To successfully adapt a well-known and loved film to the stage takes a little luck and lots of good decision-making.
Hilary Bell’s adaptation of Albert Lamorisse’s 1956 Oscar-winning short film The Red Balloon has both in spades.
In its original form, the story is a simple one, but Bell fleshes out the enigmatic original, largely by the introduction of three animal characters that narrate and comment on the otherwise all-but-wordless action. They are wise and entertaining additions.
It was an inspired decision to invite the celebrated choreographer Chrissie Parrott to direct the show. Her sensibility fits perfectly with the mood of the work, and the dances of balloons, the boy and girl, and the vermin, are highlights.
Kids are the best reviewers of their theatre, and they do it in real time, with laughter, gasps of wonderment and, especially, questions.
There were plenty of all three for this wonderful, impressively staged, story.


Read the complete review in The West Australian.

Theatre: Glengarry Glenn Ross (★★★★)

Will O'Mahony and Peter Rowsthorn

by David Mamet
Black Swan State Theatre Company
Directed by Kate Cherry

Designed by Richard Roberts
With Luke Hewitt, Ben Mortley, Will O’Mahony, Kenneth Ransom, Peter Rowsthorn, Steve Turner and Damian Walshe-Howling

Heath Ledger Theatre
Until June 14

Once again Kate Cherry and Black Swan show the appetite and aptitude for the late 20th Century American theatre canon that made Laughter on the 23rd Floor the hit of their 2014 season.
Glengarry Glen Ross, David Mamet’s hugely influential drama of venality and the despairing criminality it breeds, might not have the irresistible exuberance of Neil Simon’s memoir, but it shares its energy and masterful use of language. Cherry’s vigorous, uncomplicated staging, supported by a talented, finely balanced cast, does justice to it in this impressive production at the Heath Ledger.

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: Robots Vs. Art

By Travis Cotton

Directed by Phil Moilin

Performed by Damon Lockwood, Sean Walsh, Renee Newman Storen and Ben Mortley

The Blue Room

Until June 1

The pivot of Travis Cotton’s futurist fable of a world run by robots comes when Giles (Damon Lockwood), a former playwright and director now a slave worker in the conqueror’s zinc mines, has to decide whether to stage a play for his psychopathic overlord Master Bot (Sean Walsh) or be chain-whipped to death. Chances are, given his hideous lifestyle and complete absence of hope, he’d choose the latter, but for one complication: he’s the last living human.

Giles ultimately has a victory of sorts, but it’s a pyrrhic one. Mankind has forfeited its rights and betrayed its stewardship of the Earth, and the robots have no interest in being like him.

Robots will never rule the world, but the message of Cotton’s provocative play is that things very like them have tried, and will try again, to do so. 

Link here to the complete version of this review in The West Australian