Arawarra

Arawarra

Arawarra Rating

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The opening night of ‘Arawarra’ at the Illawarra Performing Arts Centre saw a sold-out theatre and a standing ovation for the brilliant work and performance of Jake Māra.

‘Arawarra’ tells the story of a First Nations leader and hero of the South Coast, at the time of colonisation. This is the legacy left behind from a prominent figure who was erased from the history books, and it is a story that everyone should be told, especially if you’re from the Illawarra and South Coast.

It’s not often that one person can command a room for an hour with two props and stagnant set of a table and chairs, some boxes and a teacup, but Jake Māra did exactly that. He had the entire audience enthralled in his performance. It was captivating like nothing else. Māra’s storytelling was simple and beautiful, filled with soul and just outstanding. He embodied each character with such grace and ease that it was easy to forget that he was the only one on stage. The story itself was woven through the voice of his uncle, Arawarra himself, and his ancestors. Whether he was sat at the kitchen table, or commentating and dissecting moments from history, it felt just like a friend sitting down and talking about their life. It was warm and inviting and had the audience laughing and sympathising throughout. I have found it to be quite rare to have a gift like that, scripted or not. I simply cannot praise this performance and this story enough.

 

 

Technically it was stunning. The use of lighting and occasional images across the cyc (the white curtain at the back of the stage) at pivotal moments was just perfect. Red lighting flashes in time with swift acts of violence, the black and white image of the sacred mountain, displaying the handwritten words of Alexander Berry, all of it was simple and yet, so incredibly effective. It’s easy to be lost in amongst sound and lighting, particularly when it is just one person, but the creative team found the exact balance to do this so well.

I really enjoyed the mix of native language and English that was so seamlessly used throughout the performance. Even if you did not know the language, you could still understand what was happening within the story. The emotion and the characterisation took you through each moment the same way it does watching an opera in a foreign tongue.

This is not a show you should miss. Thankyou to Lincoln Smith and Jake Māra for bringing this story onto the stage and sharing this piece of history and culture with us. You should be incredibly proud of what you have created.

Arawarra has now sold out, but keep any eye out for any repeat performances in your area.

Photographer: Tracey Leigh Images

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The Seven

The Seven

The Seven Rating

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The Strangeways Ensemble takes to the stage with their original piece called ‘The Seven’. Opening night at the Wollongong Town Hall was filled with intrigued theatregoers looking for a mystery to sink their teeth into on a Friday night.

Even before entering the hall, the ambience was set through smoke machines, filtering out into the foyer. The crew, dressed head to toe in black crime scene unit suits, equipped with torches and determined curiosity, immediately pulled the audience into the space well before the show began. I am a big fan of a non-traditional use of a space and was delighted to see the chairs set up to face the middle of the hall, with a long stage marked out. Whilst intriguing and a spot of fun, having the audience set up like that, does sacrifice a little bit of visibility for certain scene placements and actions.

I was in awe of the staging, particularly the ingenious use of physics-defying chairs as entrances to the old tunnels. I enjoyed how the stage was so wide and how each section was used for different locations and time periods. The fairy lights in the main tunnel as glow-worms were absolutely perfect. It’s been many years since I’ve been in the tunnels myself, so it evoked a very peaceful nostalgia, which was so lovely to experience in a performance that is so nichely set in our home.

 

 

The exploration of that delicate balance of fact and fiction was very well done. Characters like Truth-Telling Tony, Bob Sweeper and his aide, had the audience in stitches. I was absolutely captivated by Christian Tagliaferro each time he was on stage. He was an absolute delight to watch in all forms and as all characters. Interweaving very real modern conspiracies with the main fictional mystery, made it seem like this local legend was one that actually occurred, which is a testament to the writing of this show.

One of my favourite things about the Strangeways ensemble is the fact that you can tell how much each actor enjoys what they’re doing. Even as multiple characters, with quick changes and overlapping storylines, they’re having a good time, which makes the audience enjoy the performance that much more. ‘The Seven’ is, to put it simply, a spot of fun. It’s quirky and charming, and in a time where a lot of real-world commentary coming from the arts is heavy and trying to prove some kind of point, it was refreshing to be able to have some care-free fun.

‘The Seven’ is on at the Wollongong Town Hall, with shows on Thursday 27th November until Saturday 29th. Make sure to grab yourself a ticket at the Merrigong Theatre Company’s website. Don’t miss out!

To book tickets to The Seven, please visit https://merrigong.com.au/shows/the-seven/.

Photographer: Tracey Leigh

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The Dictionary of Lost Words

The Dictionary of Lost Words

The Dictionary of Lost Words Rating

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The curtain has officially opened for the State Theatre Company South Australia and Sydney Theatre Company’s ‘The Dictionary of Lost Words’ at Wollongong’s Illawarra Performing Arts Centre. Presented by Merrigong Theatre Company, Verity Laughton’s adaptation of the New York Times bestselling novel by Pip Williams opened its two-week run with a spectacular masterclass in storytelling.

From the moment you walk into the theatre, the set is captivating and immediately draws you into the Scriptorium, which is arguably a character in itself. As a book lover myself, I was absolutely taken with the hundreds of shelves and the stacks of old books and papers adorning them. You can practically smell the old books from your seat.

The use of live effects through lighting and the projector really changes the way the stage can be used and perceived. Having cast members seamlessly changing the location and years, as well as the symbolism of moving water and dirt being poured over the projection was mesmerising and effective when it came to some of the more emotional moments. The split-level stage and hidden doors made the space so much bigger, assisting in transporting viewers to Esme’s top secret hiding spots and locations that had the most impact on her growth as a woman and a lover of words.

I adored the way each cast member brought their characters to life, with nuances like delectable accents that were so good I couldn’t help but grin every time Brian Meegan’s Sir James Murray rolled his R’s in a delightful Scottish brogue. Transformative acting is a personal favourite, and each character had such life breathed into them with vivacity and evolved as the years passed in an authentic and effortless manner. All cast members are commended on their commitment to everything they touched. The hilarity of the Flower shop vendor who uttered not a single word and yet, managed to convey everything with a single glance absolutely stole those scenes.

Shannen Alyce Quan and Angela Nica Sullen who play Esme Nicoll and Tilda Taylor, respectively, were absolutely electric. Quan’s ability to play a precocious four-year-old who, through the years turned into a world-weary, borderline cynical woman was nothing short of incredible. Not only did they, as Esme, rescue those lost words over time, but they preserved a beautiful piece of historical fiction and gifted a contagious delight for knowledge and eternity to the audience. Sullen’s spirit as Tilda is a commanding presence throughout the performance. Her vibrancy and commitment to the suffrage movement, as well as Sullen’s portrayal of her other characters added such depth to the show.

The decision to recount Esme’s most treasured secret with absolutely no dialogue was brilliant. Choosing instead to use music and roving characters with spotlights to signal each part of her story was incredibly moving and I could not look away. You could feel the emotion in the room and each actor held themselves with such raw feeling that was completely inescapable. A massive round of applause to the cast, and the entire team of creatives behind this performance.

Despite the almost three hour run-time, ‘The Dictionary of Lost Words’ is incredibly enriching, and I’d highly recommend it for anyone who loves history, books or a good night out at the theatre. Make sure to grab yourself a ticket before it closes on the 7th of June at the IPAC! Jump on to the Merrigong Theatre website to book now!

To book tickets to The Dictionary of Lost Words, please visit https://merrigong.com.au/shows/the-dictionary-of-lost-words/.

Photographer: Prudence Upton

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The Queens Nanny

The Queens Nanny

The Queens Nanny Rating

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‘The Queen’s Nanny’ opened in Wollongong on the 16th of October at the Illawarra Performing Arts Centre. Fresh from their world premiere season at Sydney’s Ensemble Theatre, ‘The Queen’s Nanny’ is a funny yet poignant story of Marion Crawford, or ‘Crawfie’ who (as the play’s title suggests) was the nanny or governess to Princesses Lilibet and Margaret Rose throughout the 20th century.

Written by Melanie Tait as “a story of class and colonialism” and directed by Priscilla Jackman, ’The Queen’s Nanny’ takes you through the spectrum of emotions. Jackman called the play “fun, artistically lyrical, provocative and playful.” I’d like to add that it is generally brilliant and creatively captivating.

Timed to perfection technical elements, unique use of the stage, minimal props and costume items to differentiate between characters or display how they’ve aged declined, or simply just changed added charm and class to the performance.

Tom Stokes was absolutely incredible. In a league of his own, his ability to transform seamlessly into each of the seven characters he portrayed in 90 minutes with limited breaks was captivating. His mannerisms and perfected accents dazzled the audience, holding their attention while somehow still allowing this to be someone else’s story.

Elizabeth Blackmore’s embodiment of Crawfie left little to be desired. Exploring every aspect of her 16 years with the royal family, and the following decades until her passing in 1988, Blackmore brought the audience into the very heart and soul of the character.

 

The emotions surrounding the trinkets and memories stored in her carpet bag, even after her employment ended, were suffocatingly genuine. It’s rare that anyone outside of the shared experience will understand the weight of the emotional value of letters, ticket stubs, a particular coin, etc., especially if there’s potentially a financial value to those items, and yet both Blackmore and Stokes captured that dynamic perfectly.

That’s not to forget the performance of Emma Palmer as the Queen Mother. It’s not easy to play a character with such polarity and complexity. Nor is it easy to capture the way responsibilities and internal torment can weigh on a person over time, but Emma Palmer managed to do just that. Initially a breath of fresh air and a beautiful comic, the Queen Mother began and ended as two very different people, as people in the public eye tend to do. As I said, it’s not easy to do, but I think somebody forgot to tell that to Emma Palmer.

Don’t miss this incredible show and group of exceptionally talented creatives. Tickets are available for the final few shows in Wollongong on the Merrigong website.

Book your tickets @ https://merrigong.com.au/shows/the-queens-nanny/

Photographer: Phil Erbacher

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