Live: Ira Glass

Astor Theatre
13 January 2012

The New York-based radio host and producer Ira Glass has a world-wide fan base for his PBS radio show, This American Life, and the Perth chapter of that following, me included, came out in force for ninety very entertaining minutes with him.

No medium has changed more than radio in the past decade and, in one of this evening’s most illuminating moments, that revolution became apparent. Glass asked the audience whether they knew him from his Sunday 7pm slot on ABC Radio National or through podcasts of his show, and the latter drew by far the greater response. Radio has become global, on demand, instant and yet permanently referable, and Glass, whose show’s podcast is often the most downloaded in the U.S., one of its brightest stars.

Link here to the complete review in The West Australian

Theatre: Taking Liberty

Deckchair Theatre

Written by Ingle Knight

Directed by Chris Bendall

Designed by Andrew Bellchambers

Featuring Stuart Halusz, Luke Hewitt, Benj D’Addario, Greg McNeill, Craig Williams and Nick Candy

Luke Hewitt, Greg McNeill and Benj D'Addario

 As luck would have it, in September 2008 I celebrated the 25^th Anniversary of the Bond syndicate’s famous America’s Cup victory on San Diego Harbour aboard an exact replica of the nineteenth century schooner that won the trophy that has carried its name ever since. 

Meanwhile, back in WA, Ingle Knight had a hit on his hands with Taking Liberty, his rollicking tale of the triumph of Australia II that ended “the longest winning streak in world sport”.

And I can understand why. This revival by Deckchair Theatre pushes every button you would expect from an unashamed hagiography. It’s funny, disrespectful but affectionate, gloriously false and yet emotionally true. And, against all the odds, it’s genuinely, physically, exciting.

You can be forgiven for approaching a play about some yacht race with trepidation, but I can safely say that if you’re looking for a fabulous time out on the ocean this month, but want to keep your feet dry doing it, Taking Liberty is the show for you.   

Link here to the complete review in The West Australian

Theatre: Private Lives

By Noël Coward

Onward Production

Directed by Marcelle Schmitz

Set design by Brian Woltjen

Costume design by Steve Nolan

Featuring Kirsty Hillhouse, Michael Loney, James Helm, Michelle Fornasier and Rosemarie Lenzo

Subiaco Arts Centre

Until December 10

Michael Loney and Kirsty Hillhouse (pic: Jon Green)

Noël Coward’s Private Lives is given a glittering, unsettling revival by Sally Burton’s Onward Production at the Subiaco Arts Centre in a sumptuous production marked by bravura performances by its stars, Kirsty Hillhouse and Michael Loney, and an expertly paced reading by director Marcelle Schmitz.

Schmitz is a considered and talented director, and she is neither spooked by the domestic violence that haunts the play nor bogged down in it. She gives the play’s sharp glamour and wit a full head of steam, and her cast take glorious advantage of the license given them. 

Private Lives is like a dazzling stranger at a glamorous party; impossible not to admire, hard to resist, but dangerous to love. If you do, though (I did), be wary of the dark place behind those lovely, sparkling eyes.

Link here to the complete review in The West Australian               

Theatre: Who's Afraid of the Working Class?

By Andrew Bovell, Patricia Cornelius, Christos Tsiolkas and Melissa Reeves

Directed by Rick Brayford

Set and costume designer Patrick Howe

Performed by WAAPA Aboriginal Theatre students Karanata Kadarmia, Haylee Rivers, Tobiasz Millar, Jadene Croft, Paddy Ahkit, Alexandra Lane, Dimity Shillingworth and Shakira Clanton

Roundhouse Theatre, WAAPA

19 – 24 November, 2011

Alexandra Lane and Tobiasz Millar  (pic: Jon Green)

There was a powerful and revealing moment during the curtain call on the last night of WAAPA Aboriginal Theatre’s production of Who’s Afraid of the Working Class?

As she was taking her bows, Alexandra Lane jubilantly flexed her biceps and let out a triumphant yell, which was picked up and repeated by others in the cast. It was an expression of relief and achievement, as you’d expect from kids at the end of a grueling year’s study, but, more than that, it was an affirmation of strength: the strength they’ll need as indigenous performers to pursue their ambitions in the theatre; the strength, on the evidence of this barnstorming production, they have in abundance.

Theatre: The Man the Sea Saw

Spoontree Productions and the Awesome Festival

Wolfe Bowart

His Majesty’s Theatre

November 25 - 26, 2011

How many Wolfe Bowarts are hiding out in Perth? The native Arizonan has lived quietly in WA for years, but it’s taken this year’s Awesome Festival to finally get him to perform his acclaimed physical theatre in his adopted home town.

It’s not that he doesn’t want to be recognized at the local IGA, though. It’s simply that his shows, which have included the Helpmann Award-nominated Letter’s End and the international hit LaLaLuna are in such demand around the globe that he has never found the time.

On the strength of his charming, mischievous The Man the Sea Saw, it’s easy to see why. And it was nice to think that, for once in his career, Wolfe Bowart could drive home after work. He should do it more often. 

Link here to the complete review in The West Australian    

Theatre: Tipsy

Nicole in Red

Directed by Mark Storen

Written and performed by Ella Hetherington, Georgia King, Sarah Nelson, Dawn Pascoe and Nicole Warren

Music by Rhoda Lopez, Joe Lui, Beth Sheldon and Geoffrey Harrold

Little Creatures Loft

Until November 23

Ella Hetherington (pic Travis Macrae)

I’m no fashionista, but Tipsy, Velvet Sushi designer Deborah Mckendrick’s collaboration with actor/director Mark Storen and some of the brightest young performers in Perth was intriguing enough to get me to the Little Creatures Loft to check it out.

I’m very glad I did.

Tipsey wasn’t uniformly slick, or particularly meaningful, but it was feisty entertainment, great to look at and a lot more besides. It’s important to see our performing artists working with commercial enterprises without losing their spark or compromising their integrity; it’s encouraging to see popular spaces like the Little Creature’s Loft used inventively and effectively; and it’s stimulating to see our fashion shown to winning effect on vibrant performers, and not just spiritless mannequins.

Link here to the complete review in The West Australian

Theatre: The Adventures of Alvin Sputnik: Deep Sea Explorer

Perth Theatre Company and Weeping Spoon Productions

Created and Performed by Tim Watts

With the collaboration of Arielle Gray

Construction by Anthony Watt

Sound design by Tim Watts and Matt Cheetham

Production by Chris Isaacs

STC Studio

22 November – 3 December, 2011

The first scene of the globe-trotting Alvin Sputnik is as touching and brilliantly realised as anything you’ll ever see anywhere. Behind a circular screen, lit al la Freddy Mercury in Bohemian Rhapsody, and plucking on his ukulele, Alvin (Tim Watts) sings to his dying wife, begging her not to go tonight. Her pale puppet body breathes silently until, as her husband watches helplessly, it is wracked by death throes and expires. A glowing form – her soul, her spirit – leaves her body and floats away.

You think immediately of the beautiful opening tableau of the magical Up, and how completely they both draw you into the story that is to follow.

That story of how Alvin pursues his lost wife’s soul into the depths of the ocean, incidentally finding a new life for mankind from the climatic disaster that has drowned and wrecked the world above, is told in live, puppeteered and animated scenes of wonderful technical skill and inventiveness by Watt. The deep sea diving-suited Alvin, in various forms but most often a simple hand glove with a fishing float for a head, meets a stock array of dangers and challenges to achieve a kind of apotheosis, finally giving himself to be re-united with his Elena and save the world.