A Midsummer Nights Dream Come True

A Midsummer Nights Dream

A Midsummer Nights Dream Rating

Click if you liked this article

3

It’s a scorching 38-degree day, the sun is beating down fire-like rays, and I cannot stop sweating, and yet, when I am welcomed into Williamstown Botanic Gardens, everything feels a little bit cooler. Leaves en masse create dappled shade, and as I am guided on where to put my seat, my body temperature drops ever so slightly as my excitement rises.

I am here today to see Ozacts Midsummer Night’s Dream and, as an avid Shakespeare lover and student of the performing arts myself, this little clearing in these gardens suits me perfectly. A stretch of rope lines off the stage of gravel and grass, and shortly after, the play begins!

There truly is no better play well suited to a clearing in the gardens than a Midsummer Night’s Dream, and this company made full use of the different entrances and exits that were allowed in this setting. It truly felt as if the audience were a birds’ eye into the forest where all this beautifully comedic mayhem took place.

The beauty of this stage was that, apart from some pillows and blankets, the set design was stunningly simplistic and fully allowed the actors to tell the story without getting caught up in props and tidbits.
There was an attempt at sound and music, but as it was a rather open space, this got slightly lost. However, when heard, it created an ambience that further told the story in all its glory.

I want to give a (virtual) round of applause to every actor in this show. Each character had such a solid foundation, and I felt like I knew who they were. As an ensemble, each joke, each moment, and each word bounced superbly between both them and the audience. It was truly something magnificent to behold.

However, a special mention must go out to a few of this magic ensemble. LYSANDER, played by Ryan Stormland (who also played the Lion), had comedic timing as quick as a whip. As the Lion, the true feeling of just wanting to be involved was spot on, and as Lysander, each insult to Hermia(played by Kim Devitt) not only rolled off the tongue so splendidly but truly hit home not just to Hermia but also to us as an audience. HELENA, played by Maddie Roberts, (who also played ensemble parts) also displayed such a captivating array of feelings, from confused to offended to deeply madly in love, I fell for it all as hard as she fell for Demetrius!

All of this was further emphasised by gorgeous costumes. I loved the concept of Nick Bottom(played by Andy Delves) having donkey ears attached to his top hat and this reveal openly made me cackle. Titania’s costume was also an absolute sight to behold and created such a stunning silhouette which Carli Jones used to full advantage.

It’s so difficult to get an audience to understand Shakespeare, especially if they know nothing beforehand, but as a part of that audience, this ensemble transported us to a frolicking forest of fairies and fickle love that made us laugh, gasp and openly cringe and I would have it no other way. So if you wish to while away a balmy afternoon, I would highly suggest checking out Ozact and their Shakespeare in the Gardens. You will not be disappointed!

To book tickets to A Midsummer Nights Dream, please visit https://www.ozact.com/home/dates-locations/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Skating In The Clouds

Skating In the Clouds

Skating In The Clouds Rating

Click if you liked this article

3

Clare Mendes’ current play “Skating In the Clouds”, directed by Emily Farrell, brings her passion for saving the environment to the fore but also shows her passion for people and relationships. Two years in the making, with assistance from a Malcolm Robertson grant, Mendes explores the responses we make, as individuals, as generations and as a society to that big topic, climate change.

I say “we” because, through the actors on stage, we see ourselves represented. Summer and Autumn, in solid performances by Katrina Mathers and Rebecca Morton, are like two sides of a coin. Together, they are facing a world that is changing, but they have opposing coping mechanisms. Autumn, a scientist, wants to fix it but despairs at her inability to get to the root cause. Summer would rather hide in her daydreams, imagining a perfect future unaffected by such changes, yet the truth hits her in small moments every day. How will they navigate the future together? Can they reconcile their differences?

The play makes more sense when viewed as a morality play, with the symbolically-named Summer and Autumn together being our Every(wo)man (or Every person). Described as a “magic-realist romp”, there is a disconnect from a specific time and place. The beautifully simple set by Bianca Pardo is timeless, and despite Melbourne’s locations being mentioned, we imagine it to be in the clouds. Whilst we are told that our ladies are turning 70 in 2040, we don’t feel like we are fully in 2024 either. Props are oversized. It’s all very dreamy.

 

Performers El Kiley and Shamita Sivabalan ably support the action with youthful energy in scenes that punctuate the main storyline. Their physical embodiment of various characters reveal different societal responses to the climate crisis: politicians, journalists and rich corporate workers as examples.

For me, the highlight of the play was the confrontation scene between Mathers’ Summer, and Sivabalan, playing Summer’s daughter, Toby. After the discussion of ideas that dominate Summer and Autumn’s conflict in the previous scenes, we finally see raw emotions we can relate to. Summer has to face her fears for her daughter and mourns the simplicity of life when she was young; she wonders how we got into this mess that includes the overproduction of disposables. Toby believes herself and her generation innocent and rages against the undeserved burden, directing it at her mother. But the argument is pointless. The problem remains and mother and daughter must find hope for the future by finding small ways they can contribute to change. The passion in this scene has stayed with me, both its rage and its hope, and is a testament to the writing and the performances of the actors.

The lighting design by Natalia Velasco Moreno and the sound design by Sharyn Brand supported the action effectively but, along with all the creative team including set/costume, actors and movement (Lucy Payne) I would have liked to have seen more of their stamp on the whole production. The amount of talent in the creative team is immense, and the “magic-realism” element could have been leaned into even more, allowing the story and its deeper emotional meanings to unfold in the spaces between the words.

“Skating in the Clouds” is on at Theatreworks, Acland St, St Kilda, until Saturday, December 14th.

To book tickets, please visit https://www.theatreworks.org.au/2024/skating-in-the-clouds

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Christmas Comes to Melbourne: A Christmas Carol

A Christmas Carol

A Christmas Carol Rating

Click if you liked this article

Since first published in 1843, Charles Dickens ‘ A Christmas Carol’ has captivated audiences.

As the audience enters the theatre, a dimly lit stage with minimal set design greets them, and the sound of carols echos the room.

We meet Ebenezer Scrooge ( Erik Thomson), who we soon learn is a joyless, loveless, grumpy old man.

Life has a way of teaching us lessons, and as Ebenezer soon learns via a series of ghost visits, he has lived his life in a way that will lead him to isolation and loneliness.

The Ghost of Christmas Past (Alison Whyte) takes him on a journey to discover how the choices he made in his youth shaped the course of his future.

As painful as it is, he must learn that every action he took has led him to where he is and given him insights into how his mistakes changed him. As he meets The Ghost of Christmas Present ( Samantha Morely), he learns that the man he has become has consequences for not only himself but also his family and his employees. His selfish, avaricious ways have caused him to have blood on his hands.

Finally, the Ghost of Christmas Presents itself in the form of his sister Little Fan (Aisha Aidara), who shows him the consequences of his mistakes should he continue on his current path.

Through the process, Ebenezer has a revelation. He awakens from the loveless life he has carved out for himself, all in the name of greed. It is with this awakening that he is transformed, and his life changes forever.

A Christmas Carol is a formulaic story, and as it is well known, we all know what happens. However, the performances of the cast and the incredible stage design make this production something special.

With scenic and costume design by Tony Award® winner Rob Howell, music and arrangements by Tony Award® winner Christopher Nightingale, and lighting design by Tony Award® winner Hugh Vanstone, the minimal set comes alive with breathtaking lighting and effects, making viewers believe that they truly are in London, snow and all.

Erik Thompson gave an exceptional performance, and his supporting cast was equally talented. The use of light and sound, whilst minimalistic, is impressive and effective.

Towards the end of the story, the audience is invited to participate, and the laughter from the crowd is infectious. The snow falling on the front rows and on stage is breathtaking and perfectly captures the atmosphere.

The story might be over 180 years old, but its predictable and transformative character story makes it a much-loved tale.

A Christmas Carol is, in some ways, a love story of sorts—it’s the story of an old man falling in love with life again, reinvigorated, and transformed into a better person. With that love comes redemption and happiness for all who come into contact with the new and improved version of Scrooge.

Jack Thorpe’s adaptation is nothing short of a fantastic telling of a much-loved story. It is a delightful production that is sure to leave audiences with a sense of wonder and excitement.

An Old Vic Production A CHRISTMAS CAROL
A version by Jack Thorne
Conceived and Directed by Matthew Warchus
Presented by GWB Entertainment
At the Comedy Theatre from 22 November to 29 December.

To book tickets to A Christmas Carol, please visit https://christmascarolaustralia.com.au/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

The Wolves present: Marooned

Marooned

Marooned Rating

Click if you liked this article

The lights go up to illuminate a minimalistic stage with clouds floating on a screen behind, as we are introduced to our cast of characters.

We are in a waiting room of sorts; perhaps it’s purgatory, or it may be a processing room, but as the scene unfolds, we eventually learn it’s a room for those that have failed at committing suicide.

As we meet our nameless characters, from our antagonist, known only as 379, to our young peacemaker 134, businessman 1620, and the only woman 786, through a series of conversations, we slowly learn what has brought each person to this space.

Whether it is a failed life, illness, divorce, sexuality, or just uncertainty, we learn about the insights of each character. Like an overripe onion, layers are slowly peeled away to reveal the deep personal pain and the lessons each character must learn.

Each character must face their demons in the hostile space that is this waiting room, deciding whether they want to live or die. They begin by being in denial of the ending of their lives, as they share their stories we see their humanity evolve, and we begin to see regret, heartbreak and pain in each person. It’s compelling to watch as we learn of the struggles of each individual.

 

The play delves into some very deep issues of the human psyche and explores them on a level that is thought-provoking and compelling.

As we learn of each character’s complexities it’s hard to decide how to feel about each person and their journey to this space. Each character comes from a diverse background and each has unique reasons for being in the waiting room.

The play is a powerful exploration of a serious topic and it is unafraid to explore such a complex subject. However, it is done in a manner that is provocative and emotional. Each actor brings a rawness to the performance, and all of them are exceptional in their respective roles.

Marooned is a piece of theatre that will leave you feeling a little shocked, rattled and is an exceptional piece of work that is an absolute must see for all lovers of the arts.

To book tickets to Marooned, please visit https://alextheatre.au/marooned/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.