Theatre: The Song Was Wrong (★★)

Jacinta Larcombe and George Shevtsov

Perth Theatre Company
Written and directed by Melissa Cantwell
Music composed and performed by Nick Wales
Set Design by Bruce McKinven
Sound design by Ben Collins
Lighting design by Matthew Marshall
Featuring Astrid Grant, Felix Jozeps, Jacinta Larcombe, Sarah Nelson, Thomas Papathanassiou, George Shevtsov
STC Studio until June 20

The Perth Theatre Company has put some significant runs on the board since it became the junior tenant of the State Theatre Centre in 2011, based on smart programming and some astute partnerships with independent companies like Weeping Spoon and Side Pony forged by its artistic director, Melissa Cantwell.
Cantwell has also demonstrated that she is a sharp, inventive director, often delivering productions with greater contemporary appeal than PTC’s larger upstairs neighbour, Black Swan.
But the company’s latest and most ambitious project, The Song Was Wrong, is a significant misstep.
New work needed to be tested, next door at the Blue Room or elsewhere – as many of PTT’s previous properties have been – before being given a full main stage production. It’s disconcerting that such a process wasn’t followed in this case.

Go to the complete review in The West Australian

Theatre: From the Rubble (★★★½)

Perth Theatre Company
Conceived and directed by Melissa Cantwell
From stories by Sophie McNeill
Visual design by Fleur Elise Noble
Composed by Joe Lui and Mei Saraswati
Sound design by Joe Lui
Audiovisual technician Mia Holton
Performed by Mei Saraswati, Tina Torabi and Mikala Westall
PICA 16 – 28 March  

Mei Saraswati

The work of the remarkable young WA journalist Sophie McNeill has taken her deep into the world’s rubble. The stories she has brought back from it are largely of the dead and wounded, the innocent and unarmed, mothers and their children, the old and defenceless.
Inspired by McNeill and her stories from Afghanistan, Perth Theatre Company’s Melissa Cantwell has devised an artistically ambitious and generally impressive production that is as much about the universal as any particular.
From the Rubble is tough, uncompromising work (don’t look for even the darkest of black humour here) and will not be for everyone’s taste or stomach. It is, however, the bearer of some grim truths, and, for that alone, it merits your attention.        
Link here to the complete review in The West Australian

Theatre: Alienation

Perth Theatre Company

Written by Lachlan Philpott

Directed by Melissa Cantwell

Designer Bruce McKiven

Lighting designer Benjamin Cisterne

Sound designer Peter Dawson

Featuring Naomi Hanbury, Luke Hewitt, Natalie Holmwood and Robert Jago

STC Studio until July 13

Natalie Holmwood

More Americans claim to have been abducted by aliens than have been POWs. It’s one of those statistics meant to show what a crazy bunch the Yanks are.

Turn the gag around, though, and it means millions of them believe they have had an alien experience. A surprisingly big number of us do too.

If all this activity is the result of one of the psychological and memory disorders that have been ascribed to it, it’s an interesting phenomenon.

If it isn’t, we have a problem here, Houston.

Link here to the complete review in The West Australian

Theatre: A Number

Perth Theatre Company

Written by Caryl Churchill

Directed by Melissa Cantwell

Designer Bruce McKiven

Lighting designer Jon Buswell

Sound designer Peter Dawson

Featuring Kym Gyngell and Brent Hill

STC Studio until April 27

Kym Gyngell

There’s plenty of science fiction out there. In the Netherlands, in a re-created Palaeolithic ecosystem, scientists are reverse breeding to bring back extinct species like the auroch, the almost elephant-sized progenitor of modern cattle. From genetically modified harvests and barnyard clones to dinosaur DNA in glaciers, we are playing Dr Frankenstein with the matter that makes us. It seems more and more likely that the absurdly impossible is very possible indeed.

In Caryl Churchill’s A Number (first performed at the Royal Court in 2002 with Michael Gambon and Daniel Craig, and here revived by the Perth Theatre Company with Kym Gyngell and Brent Hill), a man approaching middle age discovers that he’s not alone in the world, that there are a number of hims out there.

A Number isn’t about the mechanics of cloning, or even its ethics per se, but the expectations parents and children have for each other, individual identity, the importance of trust for love and the mayhem that can erupt when it is shattered.

Be warned; this is no comedy, even of the blackest kind. A Number is a tough, testing story, made all the more confronting and thought provoking by the quality of its telling in this fine production. 

Link here to the complete review in The West Australian. My favourite reviewer in the whole world has also chimed in on A Number; link here and scroll down to page 64 for her take. 

Theatre: Blackbird

Perth Theatre Company

Written by David Harrower

Directed by Melissa Cantwell

Featuring Humphrey Bower and Anna Houston

STC Studio until March 24

Put two people in a room, turn on the heat and stir. It’s an exciting, but hazardous, recipe for theatre; when there are so few ingredients they have to be painstakingly matched and carefully prepared, or things can go badly wrong.

On a whim, maybe a hunch, I read David Harrower’s play a couple of days before seeing Melissa Cantwell’s production at the STC Studio. What I found was a long dramatic poem, often powerfully reminiscent of Philip Larkin and, especially, T.S. Eliot. Dialogue is broken into shards of thought, repeated and sharpened like a pencil to breaking point, heightened, nerve-stretched, and reductive in the best possible way. It’s a brilliant script on the page. It also seemed to me a daunting piece to convincingly bring to the stage.

Link here to the complete review in The West Australian

Theatre: Tender Napalm

Perth Theatre Company

Written by Philip Ridley

Directed by Melissa Cantwell

Featuring Joshua Brennan and Anna Houston

The prodigious British playwright, novelist and artist Philip Ridley divides his output fairly equally between works for children and adults. Ridley’s ability to explore the imaginary worlds of young people, their cruelties, courage and capacity for love is a vital strength of Perth Theatre Company’s Australian premiere production of Tender Napalm.

While this is most decidedly a play for adults (all the usual warnings apply), it has the bravery of youth. Its two, un-named, characters (Joshua Brennan and Ann Houston) inhabit a non-specific place and time and more often than not speak in parables and fantasies. Somehow, through stories of tsunamis and armies of monkeys, we get glimpses of something terrible that has happened to these people that has unhinged them and their relationship.

Link here to the complete review in The West Australian

Theatre: The Ugly One

Perth Theatre Company

Written by Marius Von Mayenburg

Directed by Melissa Cantwell

Featuring Benj D’Addario, Brendan Ewing, Geoff Kelso and Gemma Ward

Studio Underground, State Theatre Centre

March 22 - April 9, 2011 

Geoff Kelso (l) and Benj D'Addario

The Ugly One is the first of German playwright Marius Von Mayenburg’s work to be staged in Perth, though like his Eldorado and Moving Target, it has had success in other capitals.

On the strength of this elegant, economic production directed by Melissa Cantwell in the Studio Underground at the new State Theatre Centre, it’s easy to see why.

It’s a beautiful production to look at (and not for the obvious, somewhat over-publicised reason you may be thinking of) and the cast deal effectively with the challenges Von Mayenberg’s text throws them: Benj D'Addario tracks Lette’s descent from solid citizen to outcast to degenerate with clarity while Geoff Kelso, a very funny man right in his element here, and the provocative Brendan Ewing both inject just the right amount of over-the-toppery to keep things from getting too Germanic.

It’s impossible to ignore Gemma Ward's international celebrity as a beauty, but while this perhaps adds an unintended extra layer to Von Mayenburg’s text, it does it no harm.

The Ugly One is a flying start for the Perth Theatre Company in a space that is likely to be more important for WA theatre than its grander sibling upstairs.

Link here to the complete review in The West Australian