Robots On The Rise

R.U.R. (Rossum's Universal Robots)

R.U.R. (Rossum’s Universal Robots) Rating

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5

Rossum’s Universal Robots is a science fiction play written by Karel Capek and directed by Robrecht Herfkens. It is a four act play with two intervals, lasting about two and a half hours.

This production is set in the past and the main actors really set the tone of the era. Tod Trotman is amazing at delivering continuous dialogue and does a remarkable job with his mannerisms to capture the era. Candice Preston, who plays Helena Glory, is passionate and does a wonderful job with her expressions. She makes the audience feel included with her dialogue. The production includes a wide cast of all ages and the robots do a magnificent job at making you feel on the edge of your seat as they begin to take over the world. The performance of Radius, played by Stephan Pfister, is unnerving. The actors who play the group of managers continue acting in the background, creating realism to the scene. The way they portray the characters after the interval makes them believably older.

 

 

Both the set and costumes also do a wonderful job of setting the era. The set painting is a work of art and in between acts, there are massive changes to the impressive set build, giving the audience plenty to look at. The interior and exterior set is very unique, allowing the audience to view both sets at the same time. Lighting changes are infrequent but effective, especially towards the end, when there is a short strobe light sequence. The costumes are simple but effective. The robots wear simple white jumpsuits and the humans wear dresses and suits. As time passes throughout the performance, the costumes and hair changes reflect the passage of time.

Music is scarce but when it is played, our attention is drawn to it. Sound effects during the performance surround the audience, making us feel included. During the intervals, robotic-like music is played for our entertainment and during the second interval, the theater becomes immersive with the theatre staff dressing up as the robots.

It is very interesting to think about how this play was written in the 1920s but still captures the issues of A.I. that are rising today. I think it was an excellent choice of the theatre to choose this play (and to keep it in the era it was written, as opposed to reimagining it in our future) as the themes are still relatable and it is interesting to see how the robot takeover was envisioned in the past. This is a great show for the science fiction lovers among us.

Rossum’s Universal Robots is playing at Roxy Lane Theatre on May 23rd, 24th, 29th, 30th, 31st and June 4th, 5th, 6th, 7th.

To book tickets to R.U.R. (Rossum’s Universal Robots), please visit https://www.taztix.com.au/event/roxylanetheatre/.

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The Friendships We Let Go

For The Best

For The Best Rating

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3

For The Best, playing at the Melville Main Hall, is a heartbreaking, yet relatable piece of verbatim theatre created by Jeffrey Jay Fowler, Mark Storen, and Georgia King. The show focuses on friendships from the community that have fallen apart in one way or another. From the minute the show began, I knew that it would be relatable in more ways than one and really had me thinking about who my close friends are. The set is simple with three performers sitting at the front of the theater, with only music stands for their scripts and microphones, which allows you to focus on the stories. A handful of chairs were lined up on either side of the performers with the musician, Luke Dux, amongst them. Soft live music compliments the stories but isn’t overpowering and the lighting is simple but effective. The house lights never fully go out. From the minute you sit down, you feel as though you are a part of the show, that you are listening to a friend. We are asked to think of a friend we no longer know.

The performers, Mark Storen, Georgia King, and Alexandra Nell do a fantastic job embodying different characters convincingly. If you were to close your eyes, you wouldn’t realize that there were only three performers. Their tones offer humor when necessary that had the audience chuckling. The stronger lines are said in sync by the performers, reflecting how well the stories have been rehearsed. You begin to feel even closer to the performers when they tell their own personal stories of betrayal and lost friendships. During the intense parts of the stories, the music intensifies with the performers’ words. The stories are little heartaches that will make you feel for the people they belong to.

 

 

It is also made clear of how much research went into collecting the stories. It was said that in a lifetime, a person has 150 stable relationships but only three to five close relationships. Interviews were held at the Melville Library and a trend was quickly set: Women were more clearly confident with their stories, like they had told their story multiple times while men sometimes hadn’t realized that a friendship had ended until they sat down and thought about it. After the show, we were invited to the foyer, where the performers would collect stories for the following performance.

This show will truly make you think about who your close friends are. It is a profound and thought provoking piece of theatre that will leave you thinking about your own friendships and relationships. This is a story that stays with you long after you leave the venue.

To book tickets to For The Best, please visit https://www.thelastgreathunt.com/.

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The Woman Behind the Canvas

Red Ticket

Red Ticket Rating

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6

Disclaimer: This production has strobe lights and covers topics of mental health issues.

Ask any Western Australian resident about the Fremantle Art Centre and they’ll all ask you the same thing. “Isn’t that the place that’s haunted?”

That’s where our story takes place. Red Ticket, written and directed by Josie Walsh, is about a woman named Lily, played by Krysia Wiechecki, who is struggling with postpartum depression as she learns about the history of the Fremantle Art Centre. The second you walk into the theatre, you are immersed into Lily’s life. A flickering light hangs above an easel and music plays while you wait for the show to begin. The set is very simple with only a giant canvas as a backdrop as well as the easel as a prop. As the show progresses, Lily’s art transforms the stage, bringing you into Lily’s world even more. Words and pictures are drawn on the floor and Lily’s art is hung up around the theater.

The show opens with a distressing monologue from Lily. Sound effects, red light, and a smoke machine are used as she describes a recurring nightmare. The play begins after the monologue, with Janice, played by Hannah-Mary Anderson, who offers humor as a contrast to the dark monologue that we’ve just heard and takes place in the Fremantle Art Centre. Lily becomes obsessed with learning about the lunatic asylum that the Art Centre used to be and learns about a woman named Poppy, played by Kate Naunton Morgan, who was admitted to the asylum in the early 1900s several times while suffering from postpartum depression.

 

 

Both of the leading actresses do a remarkable job in capturing your attention during their monologues. I felt truly pulled in by their emotions and my heart strings tugged as Lily fell deeper into her depression and Poppy cried, unable to receive the same help that Lily is able to get at the end of the play. The ending is hopeful, letting others know that not only are they not alone but that help is available.

When Lily takes the stage alone, the theatre is dark, just like her thoughts. When she is joined by Janice, the lights are bright until finally darkness surrounds her at all times.The lighting designer, Topaz Knodel, has outdone herself in creating Poppy’s silhouette on the canvas as we learn about her and has a meticulous understanding on how to cleverly use light to tell a story. I also enjoyed the sound design and music, created by Zoe Garciano, who did an excellent job creating the perfect touch to complete the story and fully immerse the audience.

Red Ticket is playing at the Blue Room Theatre until 18 April. I highly recommend this play to anyone, but especially those who have struggled with mental health issues as they will find the story relatable.

To book tickets to Red Ticket, please visit https://blueroom.org.au/events/red-ticket/.

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A Bond Beyond Blood

Sita and Urmila: Unheard Conversations

Sita and Urmila: Unheard Conversations Rating

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7

Sita and Urmila: Unheard Conversations is a production from The Great Indian Theatre Company playing at the Nexus Theatre. It is an hour and fifty minutes without an interval. It is the story of two sisters who share a loving bond.

When Prince Ram of Ayodhya wins Sita’s hand in marriage, he reveals he has a vow that he and his brothers must marry from the same family. A solution is made and his brother, Laxman, marries Urmila. When Prince Ram is exiled to the forest for fourteen years, Sita immediately agrees to come with while Urmila must stay behind. Laxman is visited by The Goddess of Sleep and asks to stay awake for fourteen years to protect Ram and Sita. When The Goddess of Sleep says that someone must take his place to sleep, Laxman tells her that Urmila will, who reluctantly agrees. 

The story is written and directed by Sreekanth Gopalakrishnan. I particularly loved the sisters’ bond. Sita is adopted and although they don’t share the same biological family, they say the words “beyond blood”, meaning their love for each other goes beyond their DNA. Karthika Nair gives a stellar and powerful performance as Urmila and she captured my attention in every emotional scene. Prakriti Rayamajhi shows Sita’s character growth beautifully and portrays her journey from a dutiful woman to one who is strong and independent.

Deepti Shukla gives a delightfully cheeky performance as The Goddess of Sleep and children will love Akshay Sheela Nair as Hanuman, a monkey, whose physicality was engaging and entertaining. Ashish Malik and Wilfred Doray play perfectly evil characters and comedy is speckled through the script, giving audiences a chuckle when needed.

The costumes, designed by Param Kaur and Sreekanth Gopalakrishnan, was the first thing that caught my eye. They are beautiful and elegant with intricate designs. Indian music plays throughout the show and throughout scenes but still gives the actors the stage to capture the scene. When Sita and Urmila are separated, the set is cleverly split into two without feeling disjointed.

Dance is also incorporated into the storytelling and Sindhu Nair, winner of the Western Australia’s Multicultural Artist of the Year, brought a unique cultural interpretation of dance to be shared with the audience. The lighting works well with the storytelling, including spotlights to build dramatic tension during intense conversations with the sisters as well as sinister red lighting to highlight the emotions of the scene.

This is a production which would be enjoyed by anyone who has a sister or familial bond who they would do anything for.

To book tickets to Sita and Urmila: Unheard Conversations, please visit https://thegreatindiantheatrecomp.com/.

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