Rootless Cosmopolitan

Rootless Cosmopolitan

Rootless Cosmopolitan Rating

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3

With the title of “Rootless Cosmopolitans”, I half expected to turn up and see Carrie and the gals from “Sex and the City” sipping cocktails and comparing notes on the past week’s romantic adventures. Silly me. It refers to Stalin’s euphemistic pejorative for ‘Jew’. This was a play with far more to say on issues, such as terrorism, genocide, identity, war, and conflict.

Like the aforementioned television show however, despite its darker subject matter, Monstrous Productions, presenting Ron Elisha’s challenging play, manages to keep the laughs a plenty, with many a cultural joke that even Gentiles, like myself, easily relate to. Lured into a false sense of ‘lightness’ this makes the audio of the October 7, 2023 attacks when the characters are confronted with the news of the terrorism, hit extra hard. Taking both the atmosphere on stage and in the audience to a palpable knot in the throat.

Set in the offices of an internationally respected theatre company, Artistic Director Ira Brot, who like all of us in the arts, lives in fear of something he may say publicly via socials getting misunderstood and the catchword of the day “cancel culture” being firmly placed in his direction, navigates through an ever-changing world.

Where diversity and ticking boxes are placed ahead of vision, where Jewish people have been a persecuted minority, to on face value at least, overcoming adversity, to then be thrown back into depths of terror and racism. The weight of Ira’s people’s history, hanging forever over his past present, and future, is made even more apparent with the ghost of his mother, consistently in his ear.

Despite taking a small, struggling theatre company to the international stage in 6 short years, the moment the board feels the “optics” of having a Jewish Artistic director at the helm is no longer good for business, Ira Brot is thrown into a world where he strains to find his place. All the while his marriage breaks down, his assistant director uses his proxy vote to shoo him out, and he questions his privilege.

Packed into 90 minutes, “Rootless Cosmopolitans” bounds out of the gate strong, quick with the laughs, and instantly grabs our attention with fantastic acting, most notably from Babs McMillan, who steals the show as the ghost of Ira’s ever-quipping-dead mother, and a razor-sharp script. Despite the strong start, around the middle the script and direction felt a little lost, perhaps this was a choice to shadow the emotions, Ira, anchoring the story with an even and sympathetic performance by Anton Berezin, is facing.

With great turns from Seon Williams as Ira’s assistant and then the Artistic Director of her own company, and Emily Joy playing both board member and Ira’s wife, the play finds its feet again and gallops towards the finish line.

What made this a good night at the theatre, was how given the subject matter and the world we live in, it never felt preachy. It posed many questions and didn’t always tell us the answers. Like all the characters, the audience is left questioning our own privilege, struggles, and curious as to what boxes we tick and should the optics’ change, as it did for Ira, where would we find our place in this constantly changing, ever-scrutinizing world.

Review 3.5 Pineapples

35 Pineapples Ben Murphy

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.

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A Case For The Existence of God

A Case For The Existence of God

A Case For The Existence of God Rating

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2

“A Case for the Existence of God”, presented at the Red Stitch Actors Theatre, offers an intimate and thought-provoking theatrical experience propelled by the exciting performances of Kevin Hofbauer as Keith and Darcy Kent as Ryan. Directed by Gary Abrahams, with set and costume design by Jeremy Pryles and lighting design by Sidney Younger, this production skillfully navigates complex themes of friendship, class, and the quest for meaning in a small-town Idaho setting.

The play unfolds over 75 minutes without intermission, with Hofbauer and Kent portraying the only two characters in the play, Keith and Ryan, respectively. Their performances are nothing short of mesmerising, drawing audiences into the intricate dynamics of their relationship as they navigate conversations ranging from mundane – home loans to profound – what it means to be a good parent. The Red Stitch ensemble members deliver truthful and honest portrayals, infusing each moment with raw emotion and authenticity.

Set against a minimalist backdrop of a desk, two chairs, and a few props cleverly used to indicate different locations, the production creates a sense of intimacy and immediacy. The staging, set on a platform set in water resembling an island, serves as a poignant metaphor for the isolation and connection experienced by the characters. Despite the simplicity of the set, the actors effortlessly transport the audience to various locations, showcasing the versatility of their performances.

“A Case for the Existence of God” explores themes of hope, male friendship, and coming to terms with life when it doesn’t go according to plan. Playwright Samuel D. Hunter’s script delves into the complexities of desire, such as the desire for love, connection, and to leave a legacy for our children. In an interview, Hunter shared that his desire for the play was to leave audiences with a sense of hope. This sentiment resonates deeply throughout the production.

One unusual aspect of the production was giving Ryan, a character born and raised in Idaho, a Southern accent. While executed skillfully by Kent, this decision seemed inconsistent with the character’s background and upbringing as someone who had lived for generations in Idaho. It momentarily distracted from the overall experience and otherwise immersive storytelling, highlighting a potential inconsistency in character portrayal.

Nevertheless, the strength of the performances, direction, and thematic depth of the play outweigh it. “A Case for the Existence of God” is a testament to the power of the cast and crew to provoke thought, evoke emotion, and inspire contemplation. Hunter’s poignant exploration of faith, doubt, and male friendship is brought to life with nuance and sensitivity by the talented cast.

“A Case for the Existence of God” at the Red Stitch Actors Theatre is a must-see production. With stellar performances, imaginative staging, and resonant storytelling, this play invites audiences on a journey of discovery and existential inquiry. Under Abrahams’ direction, the ensemble delivers a captivating performance that lingers. The production shows from April 13 to May 12 in East St Kilda.

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.

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Murder Village: An Improvised Whodunnit

Murder Village: An Improvised Whodunnit

Enter a world of mystery and intrigue where the classic tales of Agatha Christie come to life in unexpected ways. This thrilling new show is back by popular demand and promises to keep you on the edge of your seat with all new improvised tales of murder and mayhem in response to audience cues.

Each performance is a unique puzzle crafted live before your eyes. It’s up to you to piece together the clues and guess the murderer before the amateur sleuth does. With an ever-changing storyline and an unpredictable cast of characters, this show will keep you guessing until the end.

So, do you want to visit the quaint little post-war English town called Murder Village? It’s open to you and 75 other tourists for an hour every night except Mondays for the next four weeks until April 21 for the duration of the Melbourne International Comedy Festival. Will someone die? Will they have been… um… murdered? With a candlestick or a rope? Will they have been at the centre of an intriguing conflict involving several suspects who all have a motive? Will the detective be assisted by an amateur sleuth who solves the mystery despite the red herring?

I would say probably not a candlestick or a rope (sorry, Cluedo fans) because you and the 75 other tourists will actually get to suggest the weapon in question, and I’m sure you are all much more imaginative than that. Take your phone because if you scan the QR code provided, you can also virtually vote on who the victim and the murderer will be (you have a choice of four) and can suggest the nature of the village event (is it always a fundraiser?) preceding the murder, as well as the clue that the case rests upon.

So, let me tell you a bit about my excursion to the village on opening night. As I climbed the many stairs and entered deeper and higher into the iconic venue, which is the Butterfly Club, for the first time, I found myself waiting alongside the other tourists in a dimly lit narrow lounge filled with knick-knacks, portraits, small flickering TV, mirror – the quirky otherness was the perfect transition from reality to the escapism that is Murder Village. The narrow theatre worked perfectly, with tiers that ensured there were no bad views.

Tonight’s host was Miss Artemis Martin (Louise Fitzhardinge), our shrewd whodunnit novelist (Agatha?) and our MC/narrator/unimaginative police officer was Detective Inspector Owen Gullet (David Massingham). We were introduced to Lady Clarissa Spalding (Candice D’Arcy), an excessively wealthy widow and best friend of Marion Kind (Amanda Buckley), a boisterous wartime entertainer.

Eddy (not Teddy) Brewster (Rik Brown), an Earl of Wooster, has bought the rights to Marion’s songs so that only he will profit whenever she performs, leaving her destitute. His respectable butler, Eames Chair (Rhys Auteri), has tarred feathered himself and picked up broken glass with his bare hands to serve his master. Eddy dies on a serving platter with a sharp edge that accidentally, on purpose, severs his carotid in a hilarious death scene. True to the genre, all three suspects are hiding something, but Artemis’s intellect uncovers Lady Clarissa as the murderer, and we are privy to her confession enacted as a flashback.

The population of Murder Village was 84, but now that Eddy is dead and Lady Clarissa is put away, there are now 82 possible people left to entertain you when you visit. So, the plot will be completely different based on your input. If you are like me, you will be so carried away by the fun energy of the performances you’ll have to remind yourself that the actors didn’t know the details of the plot beforehand – it all just unfolds before them, as it does for us. Musician Terrence Mudwater Junior (Jaron Why) improvised the background music on the keyboard (piano/strings sound). This underscored the action so well without drawing undue attention to itself that I had to remind myself someone was playing.

So, enjoy your excursion to Murder Village! I know I did.

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.

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A Fish Is A Terrible Friend

A Fish Is A Terrible Friend

Phoebe Anne Taylor heard the words she wrote in her play A Fish Is a Terrible Friend spoken out loud for the first time in three years and was terrified. Written over a period of one and a half weeks whilst in residency at Arteles Creative Center in Finland eight years ago, Taylor’s words give life to characters negotiating the meaning of life, love and loss and reveal a lot about her thoughts at the time. I was privileged to attend a reading of the play hosted by Incognita Enterprises at the inspiring venue and artists’ hub, Montsalvat, Eltham.

A play reading is very different from a fully produced play. There are no costumes or sets, lighting or sound effects to convey when or where a scene takes place. We have to listen carefully to the “big print,” that is, the playwright’s descriptions of the scenes and actions of the characters, which are read out loud by a Narrator, in this case, Taylor herself, who is also an actor.

It is understood that the actors will be reading from their script with little or no rehearsal. In this case, there was one rehearsal a week before. The actors remain seated for the duration, and we watch them carefully for facial expressions and body language that add to their vocal communication. There is nothing else to watch. We have to use our imagination to provide an image of the character’s appearance and movements (for example, when the narrator says, “They kiss”).

This makes the whole experience more like listening to a radio play or podcast, and I closed my eyes to picture the scenario or wondered how it could be made to work on stage. We are drawn into being co-creators of the play’s imagery in our minds. In fact, the whole creative process is on show here, especially highlighted by the playwright’s introduction and the Q&A discussion at the end. I found it an exhilarating and inspirational format.

Luckily for us, actors Sarah Hallam, Sally McLean, Paul Rochford and Phoebe Anne Taylor are all seasoned professionals who are so highly trained that each of them are also actor trainers. It was not hard to follow what was happening, and the performances were engaging. Interestingly, Taylor has been intentionally writing gender-neutral characters into her plays for some time now. This allows them to be played by any gender, whether cis or trans. The characters pronouns are written parenthetically as “(they/them)” which then can be replaced in the rehearsal stage with the preferred pronoun of the actor and/or at the discretion of the director.

The protagonists of this play are Alpha (Rochford) and Omega (Hallam), and they need to work out their tortured relationship before the world ends. “I want to die with you, but I couldn’t leave you”, admits Alpha while they watch the doom approaching. McLean plays four other characters who serve to interrupt, comment on and move the action along. Her reading of the sleazy bartender called the Flamingo was hilarious and pretty much stole the show.

I haven’t given away much about the play itself because the highlights of this play reading were the insights into Taylor’s creative process and how it sparked my own imagination. Plus, I think you should see it yourself when it gets fully produced. In the meantime, keep an eye on Incognita Enterprises for its quality events, classes, and productions.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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