Arts Theatre Cronulla

Vanya And Sonia And Masha And Spike

Vanya And Sonia And Masha And Spike

Vanya And Sonia And Masha And Spike Rating

★★★★★

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5

Cheryl Butler has directed Christopher Durang’s “Vanya and Sonia and Masha and Spike” excellently, delivering a night of theatre from Arts Theatre Cronulla that is both funny and sweet. A family (and the people in their orbit) descend on a Pennsylvania farmhouse over a weekend, and end up exploring the frustrations and search for meaning that aging in our rapidly-paced world induces. The play is littered with Chekov references, but even for a Chekov novice like this reviewer, there were things to connect to and laughs to be had. To draw humanity from characters making what are (often, throughout the show) dubious or childish decisions, takes a skilful hand, and Butler has done it with aplomb.

The ensemble cast are a delight, with each finding the light and shade in their characters. Michael Barlow gives Vanya a still and quiet depth, which gives real weight to moments where he voices his frustrations and desires. The excellent hair and makeup to turn Barlow into a believable 57 year old is paired with subtle physical choices that mean his struggle feels very real, and his grumbling is forgiven.

The high points of emotional investment from the audience came from across the cast, but the one that drew out audible exclamations was Lynda Leavers’ Sonia alone onstage taking a phone call; all the squabbling and self-doubt and tension that Sonia has been part of until that point is honoured and explored, and we saw Sonia begin a new chapter of her life in that moment. Leavers did an excellent job throughout.

Suzy Wilds as Masha is the energetic core of the show; Masha is a bit of a whirlwind of both personality and emotion, and Wilds’ performance means you also care about her, even with her strops and vanity. Masha’s physical presence in the farmhouse and in relation to the others shifts the air around her; a lot of great comedy and genuine regret and longing are brought into the open through the magnet of Wilds’ Masha.

 

Vanya And Sonia And Masha And Spike
Vanya And Sonia And Masha And Spike
Vanya And Sonia And Masha And Spike

 

Angela Gibson, who is consistently excellent in ATC productions, imbues Cassandra, the witchy fortune-telling house keeper, with flowing movement. Her timing made for some of the comic highlights of the show. Tamara O’Rourke gives the plucky girl next door Nina a real heart, and makes it clear how smart this character is from the start. The voice she gives Nina is wise beyond its years, which gives real comedy to the interactions with Samuel Chapman’s bouncy and oblivious Spike. Spike has some of the most out and out gags, and Chapman does well to give hints of the additional layers (good and otherwise) of the pretty-faced boy Masha brings to the house.

All the elements of this production are skilfully done. The set design from Cheryl Butler and Michael Gooley is full of clever details; a glimpse of the cherry orchard through the window, and a calm green-walled setting for the meditative moments and playfulness this play contains. The set construction team has done an excellent job at transforming the space, setting us believeably in a rural setting, assisted by Craig Oberg’s lighting design. The stage management and changes are all done smoothly and imperceptibly, which is a credit to the work of stage hand Kathryn Bray and stage managers Michele Potter and Ann Sayegh. Gary Clark’s sound design is similarly subtle and lovely, and timing is perfect for any moments that come to the fore as part of scenes.

Costuming was excellent in this show – whether its Nina’s consistent palette of white and blue carrying into her fancy dress or Sonia’s transformation from wallflower to movie star in a scene, Carol Smith and Lesley Tinker have nailed the characters’ energy in the choices they’ve made about their clothes. Masha’s floaty caftans contrast with Spike’s sneakers and constant stripping to his underwear in a way that underscores their dynamic perfectly, and the pyjama-clad dynamic between Vanya and Sonia that begins the play sets the tone of the whole piece; homely, thoughtful and sweet.

This is another strong production from Arts Theatre Cronulla, who seem to have a knack for picking interesting work and creating productions that are dripping with both heart and humour, delivered with skill and verve.

To book tickets to Vanya And Sonia And Masha And Spike, please visit https://www.artstheatrecronulla.com.au/vsms.

Photographer: Mark Phillips

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ATC’s ‘Gaslight’: Artful, Suspenseful and Entertaining

Gaslight

Gaslight Rating

★★★★★

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8

Arts Theatre Cronulla have had a fantastic year of shows; the ambition and attention to detail in their productions are always notable. Patrick Hamilton’s ‘Gaslight’, playing until November 29, is a prime example of this – a tight and talented cast, great set design and an audience kept enthralled throughout. The choice of this particular show is a tribute to James Bruce, a founding member of the Arts Theatre who contributed as a set designer and builder, lighting designer and director over the course of 61 years. The director has said that Bruce loved this play, and in this production you can see why.

‘Gaslight’ is a thriller from the 1930’s, the story of a woman who thinks she is going mad like her mother before her. Her husband is reaching the end of his tether, until a visitor interrupts the balance of their little world. This production has moments that made the audience genuinely gasp out loud. Michael Gooley both acts and directs, and the directing choices make the tension in the room palpable. Gooley chose to build the set according to James Bruce’s design, and it works excellently; the flickering gaslights, the period-accurate furniture and other set details function almost like an escape room puzzle, drawing the audience to notice small changes, our eyes drawn to everything from paintings to desk drawers.

Margareta Moir is a revelation in the role of Bella Manningham. Bella is a character under serious stress, and the physicality of how Moir portrays this woman in crisis is at times frighteningly real; her storytelling goes beyond the dialogue. Bella’s arc, in Moir’s hands, becomes the emotional thread that holds the story together, even as various mysteries unfold around her.

 

Gaslight

 

Gary Clark, playing Bella’s husband Jack Manningham, makes excellent choices in this show. Jack’s tone is generally light and unaffected, which makes the moments where that demeanour shifts very striking. There is a moment where he enters at the end of the first act that was one of the dramatic high points of the show, with his stillness and raw energy drawing gasps. His performance builds a lot of the show’s tension, and his choices with how to present Jack’s light and shade are a thrill.

Ann Sayegh and Suzie Stipanovic play Elizabeth and Nancy, the two maids of the house who orbit one another and interact with their bosses in very different ways. The choices their characters make shape how you perceive both Jack and Bella, and both Sayegh and Stipanovic create depth and reveal power dynamics within the world of the house, underscoring the claustrophobia that Bella clearly feels.

Michael Gooley plays a blithe and unafraid Inspector Rough, a visitor to the home who turns Bella’s world upside down. The tone of the whole show shifts when he enters, and Gooley’s Rough remains a wildcard throughout, reacting in unpredictable ways to the unfolding revelations.

ATC continues, with this show, their pattern of a strong cast telling a story with conviction and wit, with good direction making for a really enjoyable (if nerve-wracking) night of theatre. From Craig Oberg’s lighting design to the smooth stage-management by Michele Potter and Dahyla Oweichi, this is amateur theatre at its strongest: entertaining and artful. Jim Bruce would be proud.

To book tickets to Gaslight, please visit https://www.artstheatrecronulla.com.au/gaslight.

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Seventeen

Seventeen

Seventeen Rating

★★★★★

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3

The Arts Theatre Cronulla’s latest production of ‘Seventeen’ written by Matthew Whittet and directed by Susan Geldart is somewhat of a living time capsule.

Centered around 6 seventeen-year-olds on the final day of high school, this coming-of-age story is told by a group of older actors whose own high school experience was a little while ago. The decision to have these actors revisit this stage of life really enforced the nostalgia of that moment. Having graduated not too long ago myself, I vividly remember this period of uncertainty and excitement mixed with a healthy dose of ‘what on Earth do I do now?’, and I think that this cast really nailed it.

From the moment I walked through the theatre doors and saw a swing set and monkey bars, I was transported back to a time where the only things I had to worry about were whether I’d completed my maths homework and who I was sitting with at lunch that day. Over the next 90 or so minutes, we were then brought into that world, and hit with a bittersweet kaleidoscope of emotions. Fear, hope, love, uncertainty and so much more, twisted into a chaotic blend of what it means to be young are told through the lens of hindsight.

This play has so many twists and turns, and you never really know what the characters are going to come out with next. There is a bit of a shock and awe style to the script, particularly with the direction of some of the characters stories and relationships, that had the audience enraptured.

The underlying theme of preservation, which is what I mean by a living time capsule, ‘Seventeen’ is both stuck in a moment in time, and evolving before our eyes. We, as people, are forever living out moments that we may or may not know the impact they’ll have on us in the future, and this story shows us how beautiful and terrifying that can be. Particularly as kids, we try to hold on to the people who have shaped us, sometimes longer than we should and these actors really brought to life that craving for a last piece of stability before morning changes everything forever.

 

Seventeen
Seventeen
Seventeen

 

Mike and Lizzy’s sibling bond was brought to life so perfectly by Scott Brawley and Narelle Jaeger, respectively. As the younger sister to brother’s, it was like watching a re-enactment of my own childhood, doing whatever you could to hang out with them even when they were “too cool” to be seen with their little sister. They bickered like it was sport, but when moments of vulnerability crept in, you saw how deeply they defined each other’s world. Lizzy’s ability to see straight through her older brother, despite being 14 was piercing. That’s the beauty of Whittet’s writing and Geldart’s direction. There’s this clear understanding that siblings hold our history, even when we’re desperate to outrun it.

Thematically, the play hums with “no regrets” energy. It’s not about recklessly throwing caution to the wind, but rather about fully showing up. For your friends, for the moments you can’t get back, and arguably most importantly, for the version of yourself you’ll only ever be once.

By the final moments, I found myself grinning and tearing up in equal measure. I have to commend the beauty of Patrick Cranney’s portrayal of Ronny. With or without dialogue, you were encapsulating. The ability to convey everything with just your body and face is incredible. Cranney gave his character such raw authenticity that I simply couldn’t look away, even when I was trying my hardest not to cry in a room full of people.

The play captures the messy, contradictory magic of being 17, and this group of actors are just as magic when they take the stage together. There is a language warning for younger audiences, but I cannot recommend this enough. ‘Seventeen’ is running at the Arts Theatre Cronulla, until September 6, make sure to grab a ticket before it’s too late!

To book tickets to Seventeen, please visit https://www.artstheatrecronulla.com.au/seventeen.

Photographer: Jeffrey Gall, Mark Phillips, Maria Franklin

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