The Cram Collective Presents: FAG/STAG

FAG/STAG

FAG/STAG Rating

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4

The CRAM Collective’s latest production of FAG/STAG is a winner! (CRAM stands for Create, Revise, Augment and Merge). They are a comparatively young company in every sense of the word and definitely a company to watch. Focussing on film and live theatre, they are developing a dedicated following, as indicated by the full house I attended and other full houses during the season.

FAG/STAG – “This rare breed of heterosexual human male enjoys the company of homosexual human males in preference to or en liu of, perhaps selectively, other heterosexual males.” – Urban Dictionary

This production explores what it means to have a best mate when you’re stuck being your worst self.

It features Corgan and Jimmy who are BFFs. Their lives are filled by Tinder, Grindr, white lies, big nights and too many pints. Lawn bowls, Donkey Kong, wiping vomit into the shower drain. Unanswered texts, bad sex, moving back in with Mum and Dad. In the month preceding the wedding of Corgan’s ex-girlfriend the two struggle to get their life in gear enough to even hire a suit.

The Howling Owl is a unique venue, right in the middle of the CBD and the home of Adelaide’s Premiere Gin Den as a bonus, this boutique theatre is the perfect setting for an up close and personal glimpse into the lives of two very different young men at an age when youth is beginning to diminish, and the realisation of adulthood is creeping in.

Jeffrey Jay Fowler and Chris Isaacs have crafted an extremely incisive script which is sure to resonate with young adults and those of us who can remember when we were that age.

 

Connor Reidy’s direction gives us an intimate look at the lives of two men whose bond is their friendship. Together with his cast and creatives he has focussed on their inner thoughts (voiced to the audience). Using 3 stools, a couple of bottles of beer and two Nintendo handsets, his direction takes us to the highs and lows of friendship especially when complicated by sexual orientation. The play also deals with the confronting topics of self-harm and drug use.

Reidy’s direction is supported by Antoine Jelk’s creative sound design linking the scenes, and Aaron Herczeg’s atmospheric lighting which perfectly sets the mood.

Henry Cooper and Connor Pullinger inhabit their characters of Corgan and Jimmy. They are totally believable and relatable to the audience. United by their love of Donkey Kong and friendship, they pour out their souls to us, the audience. They show us the good, bad, and ugly sides of friendship while drawing us into their lives.

I particularly enjoyed Jimmy’s love/hate relationship with his ‘ex’ and the melon air freshener in his car that serves as a reminder of their time together. I also enjoyed Corgan’s addiction to Tinder and his ‘swipe right’ girls, and the acceptance of his friend’s sexuality.

Both the actors give highly polished, emotional performances that begin as stand up but quickly dive deep into inner thoughts and feelings taking us on a wild ride!

FAG/STAG is sixty minutes packed with laughs, sighs and maybe some tears, that will leave you questioning relationship with your BFFs and your role in making these friendships meaningful and lasting! Bravo CRAM Collective!

The season is short and some sessions are already sold out. For remaining tickets, book quickly @ https://www.thecramcollective.com/

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King Lear: Presented by The Theatre Guild

King Lear

King Lear Rating

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1

The University of Adelaide Theatre Guild have placed their production of King Lear in a post-apocalyptic dystopian setting which is set amidst the madness of a world in ruins more than reminiscent of the Mad Max series. I would not have been surprised if Dementus (Chris Hemsworth) walked in to play the old deranged king, there are a number of parallels.

Director Brant Eustice says, “There is enormous joy to be found in Shakespeare’s universal themes and a brilliance in his writing which not only allows, but also encourages theatregoers to continue exploring the depth, complexity and beauty of his stories in new styles. Due to a global calamity, civilisation as we view it has collapsed and has returned to the ways of a distant past. We find ourselves in a world which is slowly trying to rebuild itself.”

This production succeeds in most ways, but does not always achieve Eustice’s aims.

For those who don’t know the play, King Lear is based on the legend of Leir of Britain. Lear decides to divide his kingdom among his three daughters, but he is deceived by the flattery of Goneril and Regan, who turn against him, and he banishes the loyal Cordelia, who loves him. Lear becomes mad and wanders in a storm, while Cordelia returns with an army to restore him. The play ends with the deaths of Lear and his daughters.

According to the esteemed critic Frank Kermode, “the play…offers neither its good characters nor its audience any relief from its cruelty”. I disagree with Kermode in that while cruelty is more than evident, there is an abundance of humour in the play which Eustice highlights.

Every centimetre of the Little Theatre is used to advantage and thanks to Eustice’s direction, the scene changes are quick and efficient, and the characters are well developed.

His direction is complemented by Kate Prescott’s set design, Lisa Lanzi’s costume design, Richard Parkhill’s moody lighting, Sean Smith’s sound design. Michael Green’s original haunting music and Anne-Louise Smith’s hair teasing and primping.

This production features 16 performers, some playing multiple roles.

Michael Eustice joins an illustrious list of actors to play Lear; Orson Welles, Christopher Plummer, Ian McKellen, Derek Jacobi, and Glenda Jackson to name a few. Eustice’s Lear is bombastic, demanding and convincing in his decent into madness. His scene with the dead body of Cordelia is memorable.

Sharon Malujlo’s Kent holds the narrative together, especially when in disguise and provides comic relief to the more sombre sections of the play.

Robert Baulderstone’s Edgar is compelling to watch. His physicality is wonderful and his voice crystal clear. His ‘naked’ scene is a highlight of the play!

Sean Flierl’s Edmund is appropriately villain-like as he plots against his father and brother. His swordplay with Edgar is frighteningly realistic.

Geoff Revell as Fool steals every scene with carefully delivered wisdom and the occasional breaking of the fourth wall to include the audience. I loved his scene with Lear on the mezzanine level of the theatre.

As the three daughters, Georgia Stockham as Goneril, Rebecca Kemp as Regan and Rhoda Sylvester as Cordelia all deliver solid work, but there were some problems with diction and projection at times that resulted in some of the dialogue being lost when their backs were turned or voices raised.

Tracey Walker is a commanding Albany with one of the clearest Shakespearean deliveries I have heard.

Director Brant Eustice replaced Mick Young (who had to withdraw due to illness) as Gloucester gives us a moving performance, particularly in act 2 when his eyes are gouged out.

Imogen Deller-Evans, Mike Leach, Harry Passehl, Tony Sampson, Tom Tassone, and Lizzie Zeuner complete the cast playing multiple roles.

Being a long play (even with cuts), it might have been advisable to start this production at 7pm.

King Lear is one of the Bard’s greatest works and the University of Adelaide Theatre Guild’s production is well thought out and delivers some fine performances. I think the Bard would approve of the new setting!

Barry Hill OAM

For Tickets:-
https://www.adelaide.edu.au/theatreguild/

Ticket Information
$25 Full Price
$20 Concession / Tertiary Student

Performance Dates
Friday 16 August at 7:30pm
Saturday 17 August at 7:30pm
Sunday 18 August at 4pm
Wednesday 21 August at 7:30pm
Thursday 22 August at 7:30pm
Friday 23 August at 7:30pm
Saturday 24 August at 7:30pm
Sunday 25 August at 4pm

Venue
Little Theatre
The Cloisters, Victoria Drive, University of Adelaide
Please allow extra time for parking, especially when there is an event at Adelaide Oval.

Duration
2.5 hours plus interval

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Moonlight and Magnolias

Moonlight and Magnolias

Moonlight and Magnolias Rating

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1

Margaret Mitchell’s Civil War epic, Gone With the Wind, was published in 1936 and became an international bestseller. It was adapted into a movie in 1939, which garnered eight Academy Awards, including Hattie McDaniel’s win for Best Supporting Actress, which made her the first African American actor to take home an Oscar. However, the movie almost never made it to the big screen.

The producer, David O. Selznick, shut down production after 30 days because he was unhappy with the script. He called in hot shot writer Ben Hecht, who had never read the book, and director Victor Fleming to do a rewrite. Playwright Ron Hutchinson locks Hecht, Fleming, Selznick and his secretary in a room for five days and reimagines how the script was finished in Moonlight & Magnolias.

Hutchinson’s play, based on historical events, is written as farce, but the characters also deal with serious questions about race and the fragile position of Jewish executives in Hollywood.
The roles of Selznick, Hecht, and Fleming are based on historical figures. This play adds a secretary, Miss Poppenghul, who stays near the office while the men are locked inside for five days, surviving on peanuts and bananas.

Director Harry Dewar’s production focusses on the tension between the three creatives. He makes full use of the large stage dominated by an elegant Art Deco set in green and peach with a huge picture window at the back designed by Skye Mc Vicar and lit by Richard Parkhill. His blocking is almost choreographic at times utilising every corner of the set.

The play opens to a montage of Hollywood in the 2930s (by Brandon Boyer) with the cast cleverly included. A nice touch!

Adam Gregory Schultz plays David O. Selznick with a manic intensity, dominating the stage and pushing the narrative forward. He is a multi-tasker managing multiple props, phone calls, intercoms, bananas and peanuts with equal ease! He scenes with Hecht in Act 2 are a highlight.

Terry Crowe plays Ben Hecht the frustrated script writer with compassion. He is the realist of the creative team. The play uses Hecht’s character to raise questions about whether the script glorifies the Old South. He doubts that the movie will be a hit and doesn’t even want writing credit on the script for fear that it will ruin his career. Hecht asks Selznick at one point, “Why don’t you make a movie that makes America look its ugly face in the mirror?” To which Selznick replies, “Because no one wants to see that. America wants to see the way it thinks it looks.”

Scott Battersby plays Victor Fleming the director, pulled from the set of The Wizard of Oz to work on Gone With The Wind has many of the show’s ‘one-liners’ which he delivers with precision. His portrayal of Melanie giving birth in Act 2 is hysterical!

Rebecca Gardiner plays the well-meaning secretary Miss Poppenghul with patience alternating with exasperation. Dealing with Selznick is enough, but now she has two extra egos to deal with. Special mentions need to go to the costume coordinator Makala Modra and especially the props team Janet Jauncy and Karen Prior who progressively cover the stage with crumpled paper and scripts as time passes in the play.

My reservation with this production is the vocal tone of Act 1 which lacked light and shade with the result that the actors had nowhere to go when angry and some of the laughs were lost. This was resolved in Act 2.

Moonlight and Magnolias is an exposé of the side of Hollywood we do not see, the prejudices of the period, and of course the egos that brought us one of the most iconic movies of the last century!

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Spanish Film Festival: Jokes and Cigarettes

Jokes and Cigarettes

Jokes and Cigarettes Rating

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Director David Trueba says of his film Jokes and Cigarettes – “This is a film about humour, and about survival. Eugenio was one of the most popular comedians of the Transition. Everything about his appearance was at odds with humour: a serious man, with no gestures, hiding behind tinted glasses and a black shirt, with a lit cigarette behind a microphone, who would be the one to make a whole country laugh. But… what was hidden inside him?”

Directed and written by multiple Goya Award winner David Trueba and starring David Verdaguer in a virtuoso performance, Jokes and Cigarettes tells the story of the famous Catalan comedian Eugenio, the chain-smoking comedian known for his deadpan delivery, his smoked glasses and his trademark total black attire. It concentrates on his formative years as a comedian during the 60s and 70s, where he became a fixture on the TV sets of every Spaniard.

Barcelona, late 1960s. A young jeweller named Eugenio meets Conchita on a bus and it is smitten. Eugenio learns to play guitar to follow Conchita a singer, and, despite stage fright, they start to play together. When Conchita leaves Barcelona for two weeks, she convinces Eugenio to perform solo and Eugenio becomes a phenomenon in the city’s underground comedy scene. Helped by Conchita, he creates his comedy ego–the dark glasses, the black shirt, the barstool, the cigarettes and the high ball glass–the character that would soon become an unexpected success.

The producer Edmon Roch recalls, “I remember when I went to see the comedian who made people laugh before he’d even opened his mouth. I was ten years old, and I could see my parents laughing their heads off at the sight of this tall man sitting on a stool, stretching out his every movement with an unperturbed gesture before he started to speak. There was a liturgy, an expectation, a palpable ritual. Later, when I discovered Buster Keaton, I thought of Eugenio’s unflappable face, he’s still present in our memory and his humour lives on.”

Jokes and Cigarettes

David Verdaguer delivers a totally believable performance as Eugenio. His deadpan delivery as a comedian is perfection contrasting with his love for his wife and son. I particularly enjoyed the scene where he drops in on his son’s school concert, surprising his son who is doing an impersonation of his father’s comedy act.

Carolina Yuste is compassionate, loving and also totally believable as Eugenio’s wife, Conchita. Her early scenes with Verdaguer are a joy to watch and her death scene is a tearjerker.
Beautifully photographed, Jokes and Cigarettes also has a magical soundtrack of 60s and 70s Catalan music.

Jokes and Cigarettes is a film about humour and survival that explores what was hiding behind that serious man that made a whole country laugh!

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