The 80s Are Definitely Back!

Momentum

Momentum Rating

★★★★★

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Momentum
Produced by JT Performing Arts Company and Sydney Fringe Festival
at Chippin Street Theatre

This is a dance focused piece by a new theatre company and a group of young dancers. It shows a series of vignettes of various themes with some dance solos mixed in between. It has overwhelmingly heavy 1980s influences, in dance style, music and look. Even if some of the songs were written later, they all have 80s call backs. There are four core dancers and three soloists. The four core dancers do work their butts off, as these sections are quite long and relentless.

Before the show started, I was looking through the digital program. It always alarms me when there is so much explanation of a work in the program, this is either a sign of no clear point of view or over intellectualising. I think in this case it was a bit of both.

Chippin Street Theatre needs to replace their speakers. They are both blown out. I would recommend wearing ear loops or eye plugs as the music is at a deafening level the entire time. This is very distracting throughout the show.

 

The three soloists Jasmine Bowtell, Ashley Miller and Alyssa May really stood out. Yes, they had less to do but they all had clear focus of their intention with what they wanted to say in their solos. Ashley and Alyssa should consider focusing on cabaret dancing as they definitely have the height, extension and look for it. These jobs could help them travel the world with their careers. Jasmine Bowtell would have to be the best dancer of the night with beautiful technique and a natural grasp on raw emotion, that you could tell she was feeling with every fibre of her being. Her first solo was a particular stand out.

Out of the four core dancers there was definitely a difference in ability, which became most apparent in the unison dancing. Sometimes the steps were right, but style was not consistent and clean between the four. I wonder if this was opening night nerves and perhaps this will improve in the run. It is quite a marathon for them. Perhaps shortening the sequences and adding more solos would have helped the pace and stamina.

Out of the four core dancers Mia Ryan really stood out. Her precision with every step made it very clear who dominated the “company” collaboration choreography. My eye was always drawn to her every time she was on stage. I would have liked to have seen more solos by her.

JT Performing Arts Company is a brand new theatre company and this is their first outing. I know a lot of hard work and energy went into producing the show and that is an accomplishment in itself.

Momentum runs until Saturday 26th.

To book tickets to Momentum, please visit https://sydneyfringe.com/events/momentum/.

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This Still Deserves To Win Best Play And Best Actor Of The Sydney Fringe!!

The Man

The Man Rating

★★★★★

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The Man by James Graham
Old Fitz Hotel Theatre
Second run for Sydney Fringe Festival

It was an utter joy to a return viewing of this glorious play and masterful performance by Mike Howlett.

This is a much better space than better space than Lane Cove – Pottery Lane Performance Space, even with the remanence of set from the other play that’s showing in the same space, at the moment.

I would urge people from Griffin Theatre Company, Belvoir Street Theatre and Sydney Theatre Company to come and see this joyous work and make talks for it to be produced by them. This would also tour extremely well, so Arts on Tour should see this as well or any other funding/touring body out there.

Ben is an earnest, not so confident, neurodivergent, warm, funny and often lonely character who takes us on a journey through the challenges of doing his first ever tax return as a sole trader. The UK tax system is quite different to ours and follows many annoying British bureaucratic systems that don’t make sense, even when you’ve done it many times. Imagine how Ben feels. Through each receipt, that is given out to the audience on the way in, he tells the story of what they were from, what happened at the purchase and why they are important. We get reflection of a year in the life of Ben and what a year he had. No performance is the same as the order of collecting can to which audience member can never be planned. Which is why returning to the show was a joyful experience and felt like seeing a fresh show.

 

This performance was a lot more emotional than the last one that I saw in the first run in Lane Cove. Perhaps it was the order of the receipts or the weight of a sold out opening night in a more central venue. Mike Howlett is a master at naturalistic acting and storytelling and I still believe he deserves to win every single theatre award for his performance.

Claudia Leon is utterly charming as the voice of Lisa, who is Ben’s tax hotline operator.

I take my hat off to the creative team for uplifting this work and getting another run in. I hope it’s the start of many more to come. A little more light on the stage, particularly downstage right would be beneficial to not lose moments of Mike’s masterful performance.

I hope for the cast and creative team that this is a completely sold out run. I definitely plan on returning to see it again.

Run, don’t walk, to the Old Fitz Theatre to see The Man before the run ends on October 2nd!

To book tickets to The Man, please visit https://www.oldfitztheatre.com.au/the-man.

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Every Single Sydney Theatre Award Should Go To…

The Elevator

The Elevator Rating

★★★★★

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3

The Elevator by Eloise Snape
At the Ensemble Theatre

“Margot’s back from mat leave — and she’s not messing around. Before nappies and sleepless nights, Eco Engines was spiralling through a PR meltdown, tanking faster than you can say “carbon footprint.” Now she’s back in the CEO chair, ready to rally her team of corporate eco-warriors and clean up the mess. But her comeback hits a snag when she gets stuck in the office lift. As tensions rise, Margot’s cool starts melting faster than the polar ice caps. THE ELEVATOR is a sharp, funny and fearless dark comedy that’s anything but clean. Green washing, corporate spin and tangled lies — playwright Eloise Snape delivers a whirlwind of laughs and truth bombs in this new Australian play.”

The Elevator by Eloise Snape is one of the best new plays I have seen in a long time. If you want to be in the arts you have to have something to say, and Eloise Snape has it in spades. This is a play that every emerging playwright should see and study. It is a perfect balance of situational circumstances, comedy, drama and emotional gravitas.

I don’t often say this, but this is a perfectly cast show.

Shirong Wu as Alison is a master of comic timing. At first, I thought her breathy, broken voice would be annoying throughout the play but quickly realised it was a planned out character choice that was masterful. She eats the scenery and makes the most of every amazing one liner that Eloise Snape has craftily given her. I would see her in anything she is in.

 

Di Adams as Ollie is so grounded and delivers the amazing twist at the end with so much passion and skill, you don’t see it coming. I have enjoyed everything I have seen that she has been in, so I knew I was in safe hands when she was in the cast.

Leeanna Walsman as Margot probably has the most challenging role in the show but pulls it off brilliantly. Playing a CEO of a company that she is trying to save from disaster, while being one day postpartum of her first born daughter and stuck in a lift with two people she clearly can’t stand. I think if this had been given to anyone else they might have fumbled but Leeanna delivers one of the best performances of career to date in this role.

You can tell this must have been a joyous play to create in the rehearsal room. You can tell that director, Anthea Williams, let the cast have a huge sense of play. Certain accepts would have had to have been set but it is joyous to watch actors being let to do what they do best.

The set, lighting and costumes were stunning. Both Kelsey Lee and Keerthi Subramanyam, deserved a standing ovation alone.

It is also joyous to see an almost entirely cast and creative team of women working at the highest standard. There should be more of this, and I hope this team creates more impactful work like this together in the future.

I felt honoured to be able to experience this shows opening night and world premiere. Any time that a project of Eloise Snape’s is on I will be there.

Bolt as fast as you can to this glorious production and experience its magic.

The Elevator runs at the Ensemble Theatre until October 18th.

To book tickets to The Elevator, please visit https://www.ensemble.com.au/shows/the-elevator/.

Photographer: Prudence Upton

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The “Energizer Bunny” Definitely Has New Competition!

Odie

Odie Rating

★★★★★

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Oide
Written and Performed by Emrys Quin
Directed by Emily Farrell

“ODIE: A one-man black comedy epic for the discerning modern hooligan.

In this ‘high language, low brow’ surrealist adaptation of the Odyssey, Odie is a Queensland State of Origin hooligan stranded in Sydney at 1AM after all the trains have stopped.

Surrounded by a hostile cityscape, Odie must resist the siren calls of the pokies, charm 10ft tall sports-commentating sea monsters, and make his way back to his missus, Penny, at the Ithaca Suites.

ODIE is a vigorous, incisive, and hilarious examination of modern Australian identity, masculinity, vice, and mateship; a cultural lampooning for the discerning modern hooligan.”

I think trying to compare this to Homer is a massive stretch. Perhaps this is to do the “journey” that the main character goes on in this spoken word, monologue, one person play.

 

I really have to applaud the high energy level from the performance of Emrys Quin. This performance starts at 100 and stays there for the entire 55 minutes. When he was able to break character at the bows, at the end, you could see how exhausted they were, having put so much into the performance. This is obviously a subject that the writer/performer is extremely passionate about and the level of dedication and focus is to be honoured.

All that being said, this was not a show for me. Sport being the focus of the piece really turned me off. This play made me dislike sport even more so. There are still many good things about this production.

The number of rhyming couplets in simple form, compound and complex forms is absolutely astounding as a piece of written work. The darker themes about all forms of addition really brought a lot of gravitas to work and was weirdly the saving grace of chaos that was being hit at every corner.

I think the space is terrible for a performance like this. The Boom Boom room is essentially a converted office space, with a stage that looks like it would fall apart at any second, an extremely dirty, black curtain behind it, little to no proper stage lighting and no sound proofing, so that you hear everything happening from the other rooms of the other performances, that are happening at the same time. Plus, uncomfortable seating that makes you want to leave after 20 minutes. Some huge improvements could be made by Sydney Fringe Festival for this space in the future.

If you love sport and relentless high energy, this is the show for you.

To book tickets to Odie, please visit https://sydneyfringe.com/events/odie/.

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