red stitch actors theatre

Your Name Means Dream

Your Name Means Dream

Your Name Means Dream Rating

★★★★★

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Wow. I am going to put this front and centre: if you love seeing high-quality acting and theatre, go and see ‘Your Name Means Dream’ at Red Stitch Actors Theatre. What a phenomenal play and performances by two outstanding actors.

This brilliantly written play by the highly acclaimed Oscar nominee and Obie Award-winning playwright José Rivera (famous for ‘The Motorcycle Diaries’) has hit the shores of Australia for the first time at Red Stitch Theatre in Melbourne.

The cast of two give stellar performances, which should not be a surprise with their extensive backgrounds on both screen and stage. Caroline Lee takes on the role of ‘Aislin,’ a disgruntled widow in her mid-sixties who lives alone in her run-down apartment in New York in the not-so-distant future. Lucy Ansell plays the role of ‘Stacy,’ an advanced robot sent by Aislin’s son, Roberto, to be Aislin’s live-in caregiver and companion.

The play opens with the first meeting of the two characters. Aislin, having settled into a dreary and solitary life after the death of her husband and estrangement from her son, shows resistance to this new form of caregiver sent by her son, Roberto.

Stacy is programmed to assist Aislin in living as long and healthy a life as possible while learning from Aislin along the way. She also yearns to learn as much as she can about humanity from Aislin, wanting to get as close as she can to that point within the limits of being a robot.

 

Your Name Means Dream
Your Name Means Dream

You will walk away from this play contemplating themes including the future of technology with artificial intelligence and machine learning, family, relationships, what it means to be human, health, loneliness, quality of life, death, and grief. All of that in the space of a couple of hours. What a journey!

There is so much lovely comedy intertwined within the dialogue of this play. Caroline and Lucy really carried these comedic moments, having the audience switch from laughter to tears and back again in the blink of an eye.

It was an absolute joy to watch these two actors work together. Caroline and Lucy both portrayed their characters with so much depth, nuance, and humanity—yes, even the robot! The accents were flawless, and subtle characterisations were well-engrained into each character. Lucy’s quick switches between Stacy the robot and Roberto were mesmerising to watch.

The staging was perfect for what this play needed. A nice, simple set was more than enough to still have the audience buy into the world of Aislin and Stacy, with the entire play taking place in the living room of Aislin’s very drab and dilapidated apartment. This really is a play not to be missed.

Your Name Means Dream is on at the Red Stitch Actors Theatre from October 26 to November 24. Tickets may be purchased @ https://www.redstitch.net/your-name-means-dream-2024

Photographer: James Reiser

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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Red Stitch Actors’ Theatre – Romeo & Julie

Romeo & Julie

Romeo & Julie Rating

★★★★★

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Red Stitch Actors’ Theatre’s Romeo & Julie is a captivating and raw modern tale of young love. Loosely inspired by the star-crossed lovers of William Shakespeare’s Romeo and Juliet, the audience is transported to Wales with a contained cast of 5.

The naturalistic dialogue and pared-back set plants the audience firmly in the present day – this is a twist on the classic play with a gritty reality that underpins each scene. Damon Baudin’s Romy and Shontane Farmer’s Julie have an undeniable chemistry (“If I was flirting with you, you wouldn’t know”), their budding romance constantly interrupted by the forces that surround them – a baby, an alcoholic mother (an impactful and comedic performance by Belinda McClory as Barb), and a looming spot at Cambridge.

This creates an immediate dramatic tension, as the audience is aware that Romy and Julie are on borrowed time. Despite the chaotic lives of the characters, moments of humour and lightness throughout add reprieve, as writer Gary Owen succeeds in nailing both the language of modern-day teenagers and the complexities of family dynamics.

The set design and lighting expertly convey the claustrophobia that Romy, and later Julie, experience – the walls of set literally begin slowly closing in. The space is cleverly used by rearranging the minimal furniture between scenes, allowing the audience to pause and absorb the high emotions. The effective visual of a beach contained in a small window symbolises both hope and entrapment, yet even in these outdoor scenes, Romy is still constrained by the bulky prop of Neve’s pram.

Back inside, the colourful baby lights reflecting around the room is a beautiful visual choice – yet it serves to capture the ever-present nature of Romy’s baby and responsibility, Neve, the thing that both brought Romy and Julie together, and might just tear them apart.

Romeo & Julie
Romeo & Julie

A central theme throughout the play is that love is an active choice – when presented with a choice, Romy chooses to raise baby Neve, just as Claudia Greenstone’s Kath cherishes her stepdaughter Julie, posing to her “isn’t it worse to not be in charge of your life?”, questioning the themes of fate that dictated the lives of Shakespeare’s original characters. Another fresh element of the play is the agency that Julie exhibits.

In contrast to many portrayals of the famous character, she is smart (which is contrasted with an illiterate Romy), sassy and ambitious, and Farmer excels at capturing the angst and pining of a teenage girl experiencing her first love against all common sense. In an ode to the conflict of the original play, Justin Hosking’s Col wears a royal blue coloured outfit in a nod to the Capulets as he confronts Romy, who wears the Montague’s signature red – the same red jacket that is worn by Julie as she navigates the falling out with her parents.

The play both begins and ends with Dire Straits’ classic song “Romeo and Juliet,” as impactful speeches and painful decisions leave the audience pondering the timelessness of young love and the pressures of familial expectations.

Photographer: Jodie Hutchinson

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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“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.

A Case For The Existence of God
A Case For The Existence of God

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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Monument – A Play to Remember

Red Stitch’s production of Monument, penned by Emily Sheehan and directed by Ella Caldwell, is a masterful work that intricately balances humour and poignancy.  It’s hard to find any fault in this production, especially in Sheehan’s writing; as soon as the show ended, I was lining up at the box office to purchase a copy of this hilarious yet profound script.

The story of Monument takes place in real time over ninety minutes. It focuses on the dynamic relationship between two very different women: Edith Aldridge, the youngest woman ever to be elected leader of her country, and Rosie, a twenty-year-old makeup artist who works at David Jones.  Sheehan has referred to Monument as a “Trojan horse of a play,” a fitting description for a deeply profound narrative packaged up in a seemingly uncomplicated premise. This is also an apt reflection on one of the main topics of this play: makeup and beauty.

Before the actors took the stage and the house lights dimmed, we admired the astonishing set design by Sophie Woodward. Bold, vivid, and elegant, Woodward’s circular stage design could not have been more perfect for this story.  Woodward created an intimate, glamorous, and a little bit intimidating space, a perfect reflection of the presidential hotel suite that is Monument’s setting.

The lighting and sound design, orchestrated by Amelia Lever-Davidson and Danni Esposito, respectively, enhance the production’s emotional impact. The subtle changes in lighting and well-timed sound cues seamlessly guide the audience through the shifts in tone.

Sarah Sutherland and Julia Hanna are both nothing short of captivating in their respective roles as Edith and Rosie.  As you watch Sutherland and Hanna breathe life into Sheehan’s brilliantly written characters, you can tell they are experts in their craft.  As solo artists, they both gave mesmerising performances that radiated authenticity, but their synergy and harmony are truly remarkable as a duo.  I couldn’t look away for even one second. 

It’s not an easy task for a play to evoke hilarity, introspection, and empathy all at once, but the team behind Monument has accomplished this flawlessly.  If you want an evening of guaranteed laughs as well as a heartfelt and emotional story, then this is a show you do not want to miss.

Performances of Monument are running until the 3rd of September at Red Stitch Actor’s Theatre.

This review also appears on It’s On The House.

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