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: A Streetcar Named Desire

Written by Tennessee Williams
Directed by Kate Cherry
Designed by Christina Smith
Sound designer and composer Ben Collins
With Ben D’Addario, Nathaniel Dean, Callum Fletcher, Luke Hewitt, Michael Loney, Rhoda Lopez, Jo Morris, Sigrid Thornton, Steve Turner, Alison van Reeken and Irma Woods

Black Swan State Theatre Company 
Heath Ledger Theatre, State Theatre Centre
Extended to April 11

There’s no doubt about A Streetcar Named Desire. Its impact on the American stage and its cinema, and the consequences of its writing and performance are still with us 67 years after its debut.
Its tumultuous reception, the famous opening-night standing ovation, the huge critical and popular success that followed it, and the 1951 film version, suggest audiences were ready to see real life, its violence, its sexuality and the savagery with which it tears down anachronism, pretention and delusion, played as it is for what it is.
Which all makes Streetcar a tricky conveyance for its director and stars.

Link here to the complete review in The West Australian