Poison of Polygamy

The Poison of Polygamy is a new work adapted for the stage by Thai-Australian playwright Anchuli Felicia King from a novella by Wong Shee Ping.  Inspired by true events, this morality tale of the Chinese diaspora is set during the Australian Gold Rush and sees debt-ridden opium addict, Sleep-Sick (Shan-Ree Tan) leave his home and his long-suffering wife, Ma (Merlynn Tong) in China to journey to the Australian Goldfields, seeking his fortune. 

We spend Act 1 with Sleep-Sick our unlikable protagonist, exploring the poison of opium and his travels to the Gold Fields, however the story comes into its own in Act 2 when Sleep-Sick meets the enticing Tsiu Hei (Kimie Tsukakoshi) and she becomes his concubine.  We are then introduced to the true “Poison of Polygamy” in the maelstrom of events that unfold.

As Sleep-Sick (and the Preacher), Shan-Ree Tan brings wonderful scope to these characters.  He is an astute study in guile and addiction as Sleep-Sick and embodies the fervour of the Preacher as narrator, switching between these changes of stride with precision.

Merlynn Tong beautifully expresses the sweet naivety of Ma whose nature sharply contrasts that of her selfish, unprincipled husband, whilst Kimie Tsukakoshi is a study in impiety as the bitter and jaded courtesan Tsiu Hei, who gives Sleep-Sick a run for his money. 

Ray Chong Nee as Ching brings eloquence to the role of Sleep-Sick’s upstanding, loyal friend while Gareth Yuen as the political Pan delivers his performance with intensity. He also clearly savours the role of the unscrupulous Doctor Ng.

Chan, the ethical law-abiding character who baulks at Sleep-Sick’s involvement in the black market is played with great sympathy and nuance by Silvan Rus.  Rus also makes the most of the small but pivotal role of Ma’s cousin, who persuades Sleep-Sick to go to Australia.    

Director Courtney Stewart, in her first production as La Boite’s new Artistic Director has masterfully extracted terrific performances from her cast.  She has maintained the integrity of the narrative through nuanced characterisations and has clearly given significant attention to the finer plot points.

As La Boite is a theatre in the round, the set is necessarily, minimal.  Mood and atmosphere are ably created by the smoke machines which are given a workout for the opium den scenes as well as beautifully creating the ocean during the sea voyage to Australia.  Astute lighting design from Ben Hughes ensures flow is maintained between scenes.

Through the examination of the themes of human failing and moral dilemma playwright King has masterfully explored and given voice to what it means to be Chinese in Australia.  She makes good use of contemporary language within the orthodox framework of the original 1909 work and manages to bring a lighter touch through some engaging, humorous elements.  Maintaining the power of the narrative over the 3-hour run-time means the performers need to work hard and pleasingly, this cast very ably brings continuous focus and energy. 

The morality theme notwithstanding, the takeaway from The Poison of Polygamy for me, is how stereotyping the immigrant experience is a trap.  As it is ultimately the universal human experience, we are made all the richer for the opportunity to reflect on this through such a well-crafted, theatrical work.

The Poison of Polygamy is a co-production with the Sydney Theatre Company and the production will move to the Wharf Theatre in Sydney following the Brisbane season, which ends on 27 May.

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Never Before Has Divorce Been So Fun – Grand Horizons

Can you imagine a comedy play about divorce? And could you imagine that a theatre company could pull such a feat off? Happily, the answer is yes. Located at the lovely rooftop Pip Theatre in Milton, the comedy Grand Horizons is leaving guests in stitches. The Tony-nominated play written by Bess Wohl has been hugely successful, being awarded the best play on Broadway three years ago.  

The journey begins at the dinner table when Nancy French (Deirdre Grace) decides to end her fifty-year-long marriage to Bill (Steven Tandy). Bill appears apathetic to her divorce proposal, but their adult children, Ben (Brad McMurray) and Brian (Cameron Hurry) are far from pleased. Ben’s pregnant wife, Jess (Gabby Carbon), tries to moderate, appreciating the feelings of everyone involved whilst also fearing that this will set a precedent for her own family.

The scene is set with 50s swing music and an apartment reminiscent of a 90s family sitcom and follows the French family’s journey – learning that love isn’t as simple as it seems and that parents are far more complex individuals than their children choose to believe. The theatre was roaring with laughter on numerous occasions throughout the show, particularly at Bill’s stand-up jokes and the interaction between Nancy and Carla (Lisa Hickey).

It was an incredible performance by all, but the stand-out has to be Cameron Hurry (Brian), showing all of the melodrama and range you would expect from his character’s passion as a school drama teacher. In saying that, Brad McMurray (Ben) had an incredibly moving monologue in the second half that made the audience chuckle while tugging at their heartstrings. All the moments between Ben and Lisa were perfect as soon-to-be parents navigating a family break-up.

The play skillfully demonstrates that the relationship dynamics of a family tend to repeat themselves in the next generation. Having grown up in a stable but cold environment, Brian struggles to find love. He often questions if love exists, a sentiment all of the French family, barring Jess, share at some point in the show. His casual affairs tend to transform more into therapy sessions than romance, as seen with Tommy (Reagan Warner), needing more emotional intimacy than his closed-off family can provide him with.

Ben finds his role in the family as financial support, a position previously held by his father. Jess tries to avoid falling into the “mother” and “wife” roles and losing her personhood, which she sees in Nancy. The authentic portrayal of all of the characters allows the audience to feel like the proverbial fly on the wall taking in all the juicy interactions of an actual family usually only seen from behind closed doors.

Director Bronwyn Nayler keeps the show on point, not missing a beat. Deirdre Grace (Nancy) plays the dual roles of producing and starring; Genevieve Ganner and Sarah Robertson beautifully design the home and wardrobe, making it feel cozy and familiar. 

Steven Tandy (Bill) said it best himself by calling Grand Horizons “a hysterically funny play” and “a real winner!” There was never a dull moment in the show, and I wholeheartedly agree, never before has divorce been so fun.

Grand Horizons – Pip Theatre

  • Saturday 20 May 2023 – 2:00 PM & 7:00 PM
  • Wednesday 24 May – 6:30 PM
  • Thursday 25 May – 2:00 PM & 7:30 PM
  • Friday 26 May – 7:30 PM
  • Saturday Friday 05-May-2023 – 2:00 PM & 7:30 PM
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Thought Provoking Journey into the Heart of Darkness

The Goodwill Club, nestled in the historic Rechabite Hall, once a symbol of an international temperance movement, served as the backdrop for an intriguing performance during the Perth Comedy Festival. Could stand-up comedian Anthony Locascio deliver on a show titled Heart of Darkness? On arrival, one came with a sense of wonder, anticipation and curiosity.

Anthony, the comedian, welcomed the audience with open arms, exuding an inviting and vibrant energy that made us feel instantly at ease. With his likable persona, he delved into some challenging and controversial topics, navigating them with finesse and skill.

Addressing sensitive subjects is no easy feat, akin to a circus performer embarking on a highwire tightrope walk without a safety net. However, Anthony succeeded, showcasing his profound understanding of how to approach such material in a manner that both entertained and engaged without causing offence.

The slippery slope is real, yet it was evident that Anthony had invested considerable thought into his performance, crafting his delivery to ensure the material was not only funny but also thought-provoking. As an audience member, I admired the risks he took and the expertise with which he set the stage.

Anthony Locascio – The Thinking Man’s Comedian

“Heart of Darkness,” the show’s centrepiece, invites audiences to explore their own inner depths with Anthony fearlessly leading the charge as he launches into his personal journey into his own heart of darkness, sharing deep and personal accounts with the audience. Yet, even within the darkness, he skillfully finds moments of levity, seamlessly weaving laughter into his narratives.

While many comedians rely on whimsical and absurd scenarios for laughs, Anthony fearlessly embraces the heart of darkness and delivers an enjoyable performance that leaves a lasting impact. It was refreshing to witness a comedian who not only entertained but also provoked introspection long after the curtain fell.

Anthony embodies the thinking man’s comedian, prepared to traverse the publicly taboo and unexplored recesses of the human psyche. I genuinely hope he continues to nurture this distinct aspect of his comedy, as it serves as a genuine point of differentiation, allowing him to stand out amongst his peers.

In conclusion, Anthony’s thought-provoking journey into the heart of darkness successfully engaged the audience, leaving us with a delightful blend of laughter and contemplation on our own hearts of darkness.

Keep an eye out for Anthony Locascio for all upcoming shows to find out when he is next sharing a dark, funny, introspective journey to your town.

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A Heartwarming Journey of Resilience and Hope

Driftwood The Musical takes us on an emotive and profound journey of 6 characters, immersed in the shadows of the Holocaust. Inspired by Eva de Jong-Duldig’s memoir “Driftwood – Escape and Survival through Art,” this theatre production by Tania de Jong AM weaves a captivating narrative centred around the extraordinary life of her grandmother, Slawa Horowitz-Duldig. It is a story of unwavering resilience, love, and determination, as displaced families float away like driftwood, from one country to another, fighting against the relentless challenges to stay together.

Slawa, (Tania de Jong AM) a talented artist lives with her husband, a sculptor Karl (Anton Berezin) and daughter Eva, (Bridget Costello). The story unfolds as Eva opens a gift from her father, a box of cherished memories – containing documents, letters and photographs, on her 18th birthday. Eva serves as a narrator sparking a quest for answers about her family’s history. The timelines seamlessly intertwine, transporting us between 1950s Australia and 1930s Austria, where Eva’s parents, navigate a life filled with art, love, and the shadows of impending darkness.

In 1938, Eva’s parents, the gifted artists, Karl and Slawa, basked in the joys of their creative pursuits in the vibrant city of Vienna. Their lives are enriched by the close bonds they share with Slawa’s sister, an actress, Rella, (Michaela Burger) and Karl’s brother, Ignaz. (Nelson Gardner). Amidst the blossoming of their talents, Slawa’s invention of the folding umbrella becomes a cause for celebration and excitement.

However, as the dark clouds of Nazi oppression loom over Europe, Karl seeks solace in Switzerland through his passion for tennis, hoping to escape. The family’s fate takes an unexpected turn as they are forced to flee to the distant shores of Singapore and eventually a camp in Victoria, separated from the world they once knew. The performances in Driftwood are nothing short of exceptional. The talented cast brings these complex and relatable characters to life with depth and authenticity. Bridget Costello’s portrayal of Eva is endearing, capturing the character’s growth and transformation with grace and emotional nuance. Anton Berezin delivers a captivating performance as Karl Duldig, conveying both the vulnerability and the unwavering determination of his character.

Tania de Jong AM’s portrayal of her grandmother – Slawa Horowitz-Duldig is deeply moving, showcasing her remarkable vocal talent and heartfelt connection to the character. Michaela Burger shines as Rella, displaying a profound emotional depth and radiating warmth that lights up the stage. Nelson Gardner’s versatility in multiple roles is awe-inspiring, thus showcasing his immense talent and ability to seamlessly transform into different characters. The entire ensemble shines with their passionate performances, creating a harmonious and emotionally charged experience.

Under the masterful direction of Gary Abrahams, Driftwood unfolds with seamless precision, striking a delicate balance of joy and heartache. The enchanting music, composed by Anthony Barnhill, provides a rich and emotional backdrop to the story. The set design by Jacob Battista is evocative and versatile, transporting us to different times and places with ease. The use of projections on a large screen, shaped like a torn paper, adds a visual dimension, immersing the audience in the historical context of the story.

Driftwood the Musical is more than just a show; it is a powerful and poignant journey that lingers long after the final applause. It reminds us of the invincible human spirit, the importance of preserving our stories, and the resilience that can be found in the darkest of times. This production is a testament to the transformative power of theatre and the enduring impact of a well-crafted and deeply emotive story.

Whether you’re a fan of musical theatre or simply seeking an unforgettable and thought-provoking experience, Driftwood is a must-see production that will leave you moved, inspired and filled with renewed hope, as you hold a melody in your heart.

Driftwood The Musical is playing in Prahran at the Chapel Off Chapel till 20th May, followed by seasons in Sydney.

For more information visit https://driftwoodthemusical.com.au/

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