Fourteen; A Coming-of-Age Memoir

Fourteen

Fourteen Rating

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There are plays which immerse the audience immediately. Fourteen, originally a memoir by Shannon Molloy and adapted by Nelle Lee, Nick Skubij and the author, grabs our attention and takes us back in time to 1999. To the town of Yeppoon on the coast of Rockhampton, where the birds sweetly sing as the morning sun drenches the timber balcony and weatherboard walls. But all is not idyllic in Shannon Molloy’s life as he navigates being fourteen, questioning his sexuality and dealing with life in a small town.

This is a story of a young man in an all-boys Christian school, subject to extreme bullying, both physical and verbal taunts and the victim of cruel practical jokes. Fourteen is told mostly in flashback snapshots by Shannon, flawlessly played by Conor Leach. Conor convincingly portrayed the emotions and vulnerability of Shannon.

The retelling of the unfairness and the constant terrorising of a young teenage boy must not be lost in current society, and Molloy has not held back in recounting these parts of his life which no doubt would have been painful to write about.

There are scenes in Fourteen which tell a cautionary tale of what happens when those who are supposed to protect us, such as the teachers in his school, not only fail in their duty of care but actively become an antagonistic force. There is a build-up of multiple classroom incidents where a teacher (played by Steven Rooke) continuously ignores verbal abuse towards Shannon in his classroom. I found another bullying incident extremely disturbing, where he grabs a sexually explicit letter falsely signed by Shannon and reads it aloud to the class. Today a quarter of a century later, teachers are subject to accountability for their actions so I would like to believe that they would not act the way that teacher did in Fourteen and if so, they would be called out.

The deceptively complex set design by Josh McIntosh uses a clever amalgamation of multi-story levels, several doors hinting to other larger spaces and a central turning stage used to create a spotlight on the characters and the storyline. The lighting by Trent Suidgeest and the sound design by Guy Webster were integral to the play, highlighting dramatic points and creating a realistic atmosphere. One intense scene where Shannon looks into the mirror facing the audience, as he contemplates ending his life was powerfully portrayed using the framing outline and lighting to highlight his distress.

Although harrowing, and some scenes are quite harrowing, director Nick Skubij, creative producer Ross Balbuziente and the cast ensure that there are times which show how the support of Shannon’s family and friends buoy him in his darkest moments. We cheer on Shannon in a leadership role as he creates a fashion show with the supportive youth worker from the local community youth centre. Fourteen shows just how important it is to have a community who loves you for who you are.

Cast members played multiple characters and they were distinguished with the use of costumes designed by Fabian Holford. Karen Crone stood out in multiple roles, notably as Shannon’s salt of the Earth supportive mother – who he calls his rock.

The script strikes a good balance of seriousness with comedy which lightens the play. Scattered throughout, the choice of familiar cheesy late 90’s music accompanied by synchronised dance moves onstage encouraged the audience to burst into song, which is always a good sign that they are having a good time!

The Shake and Stir Theatre company’s Fourteen is a story of pain, healing, and hope. We are left with one teen’s story of survival that can be blanketed across to any teen, regardless of gender, sexuality, or race. For those people who are feeling hopeless, or have experienced bullying, the universal message remains to never give up and that there is life to be lived and love to be had, beyond the school gate.

Fourteen runs for one hour and forty minutes with no interval. The play I saw on Friday, May 3, at The Riverside Theatre was the first performance of a National 20-city tour.

For tickets, go to www.shakeandstir.com.au/mainstage/fourteen

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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360 ALLSTARS Circle Back For Another Round

360 ALLSTARS

360 ALLSTARS Rating

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The 360 ALLSTARS are celebrating the anniversary of their first performance in 2013 by taking their phenomenal show on the road across a four-continent world tour. Their tour landed at The Riverside Theatre in Parramatta just in time for the school holidays. There were plenty of kids in the audience for this permission.

As 360 ALLSTARS suggests, the theme of this urban street circus is all about the 360 degrees of rotation. World Champion and World Record-holding artists were sourced from countries all over the world for their skills in this area. Director and producer Gene Peterson envisioned creating a contemporary urban circus, where the more traditional acts were updated with an urban performance style for a street, edgy feel.

The Ringmaster is now a live looping rap artist (Vida Sunshyne) whose original and fast-paced words accompany the artists on stage, musically narrating whilst they are performing their speciality act. Set alongside Vida Sunshyne was Jordan, the drummer, behind an impressively large drum kit set up, which he clearly knew how to make sing during the show and during his remarkable drum solo.

Instead of a unicyclist for their circus, the 360 ALLSTARS featured an extraordinary BMX Flatlander Pereira, who wows the audiences with his balance and absolute control of a spinning BMX bike. I could almost hear the kids in the audience thinking, “Tomorrow—I’m going to try that!”

The cast worked together to present a ‘video game’ to showcase the Breakdancing Freestyling duo, BBoy Jack and BBoy Alejandro, the show’s version of acrobats. This was done in such an original way, with the screen showing their strengths/ health in a bar format, much like in a video game, while they battled it out on stage, breakdancing. Both dancers had so much style and coolness in their breakdancing, which included spinning atop their heads, hands-free!

A juggler usually entertains the crowd at the circus, but in 360 ALLSTARS, they had Fume executing the most difficult tricks with his basketballs. He spun and moved them around his body with absolute ease. He involved the audience in a ‘game show’ where the audience chanted “Press it! Press it”, referring to a big red button with the words “Do Not Press” on the wall. As each red button was pressed, another basketball appeared for Fume to spin and balance. He made juggling four basketballs and balancing two spinning basketballs on top of each other look easy.

For me, Curtis’s Cyr Wheel was a firm favourite. He spun it rapidly and then hopped inside. This showcased a continuously spinning human who used his body to do many tricks while travelling around the stage. The audience was left wondering how, when he hopped off the Cyr Wheel, Curtis was able to walk in a straight line.

It may not be a traditional circus under the big top, but the energetic 360 ALLSTARS assure us that it’s time for a new tradition – it is time to flip the big top upside down and spin it around.

360 ALLSTARS is an hour-long play suitable for people of all ages. It will perform at The Riverside Theatre on April 20th and 22nd, 2024, before moving on to other theatres in Australia, New Zealand, and North America.

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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Wild Dogs Under My Skirt

Wild Dogs Under My Skirt

Tusiata Avia’s Wild Dogs Under My Skirt has made its way across the ditch from New Zealand to the Illawarra. Adapted from Avia’s poetry collection of the same name, it invites the audience to take a peek into the life of Samoan women.

The five characters, played by the outstanding ensemble of Anapela Polata’ivao, Ilaisaane Green, Stacey Leilua, Joanna Mika-Toloa and Petmal Petelo, were raw and beautiful, exuding class and intensity.

As a poet myself, I was floored by the storytelling and the mix between the character’s native tongues and English. Seeing poetry come to life in such a creative and immersive way is incredibly special. These women have allowed the audience a glimpse into their culture, sharing their beautiful voices in both spoken word and song. Their harmonies were heavenly and incredibly moving, much like an Opera Aria that an audience understands purely by the crescendo of the orchestra and the emotion on the performer’s face. It was unnecessary to be fluent in their dialects, as their portrayal of emotions and accompanying moves were vivid and told a story in themselves.

Leki Jackson-Burke should be acknowledged and commended for his beautiful contribution to the performance. Watching someone make an impact with very few scene opportunities is always a treat. He may not have been a character or part of the story, but his musical contributions added an insurmountable degree of feeling. The drum beats and use of beautiful instruments maintained or raised the intensity of a scene, drawing the audience in and forcing them to listen.

Whilst Wild Dogs Under My Skirt can be classified as a comedy, much darker themes lie between the poetry. Split-second changes between young girls giggling and laughing about the story of the Virgin Mary to discussing horrific acts of sexual violence were staggering. The flow of the stories and the chosen sequence proved very powerful and took the audience on an emotional journey. The portrayal of the rollercoaster, which is life for Samoan and Pasifika women, was both lovely and uncomfortable. Years of dark colonial history, the sexualisation of Pasifika women, and the dastardly patriarchy in all its glory are all laid out on the stage.

This show was absolutely remarkable, and it’s not difficult to see why it has won its awards. It is such a privilege to have a production that has been performed in New York and provides a window into different countries and cultures right here in our backyard.

Wild Dogs Under My Skirt is performing at the Illawarra Performing Arts Centre, Wollongong, from 10-13 April and Riverside Theatres, Parramatta, from 18-20 April.

Make sure to grab a ticket for yourself; you don’t want to miss this!!

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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The Visitors(The Play) – To Welcome or Repel

The Visitors

The Visitors, now at The Riverside Theatre, is a new production from award-winning Muruwari writer Jane Harrison. Her play first transfixed audiences at The Sydney Festival in 2020. Quandamooka director Wesley Enoch teams up once again with Harrison to create a masterful reimagining of the First Fleet’s arrival from a First Nations perspective. This contemporary version shows movement and inclusivity by welcoming two women characters into the role of leaders, whereas the previous play had an all-male cast playing elders. The use of the Dharug Dhalang language throughout the script lends authenticity to the discussions and is beautiful to hear.

The Moogahlin Performing Arts and The Sydney Theatre Company bring us back to a warm summer day in January 1788. A day that will impact the history of the Eora nation. Birds are chirping, waves are lapping. Elizabeth Gadsby designed the set so that the stage feels spacious, with mountains of shells piled on the ground and driftwood lying around. A colossal sandstone rock takes centre stage, creating a solid presence, with the gold of the stone glittering under the warm lighting. Six clan leaders and one man, an ersatz leader, gather on this escarpment at the ocean’s edge (which we now know as Sydney Cove,) looking out to sea and warily watching some fleet of giant nawi (ships) sail closer and closer. 

The Play

They have seen ships come before, but they have never stayed. This time, they are told that ships with many mobs are on the way. The leaders from different clans discuss how they will respond to the strangers. Shall they be welcomed ashore, or should they turn them away and, if necessary, engage in war? 

They must each present their reasons for their opinion and must make a unanimous decision. This becomes the underlying premise of The Visitors. 

With Gary chairing the meeting, the Elders take turns to speak. Each story is subtly complemented by soundscape changes, thanks to sound designer Brendan Boney. We hear stories about previous encounters with the people from the nawi as each elder presents an argument justifying their opinion. 

The conversations are done diplomatically, with one speaker meant to be talking at one time. However, in a vein similar to some current parliamentary meetings, when people become passionate about a stance, their voices become louder until others join in, and the meeting disintegrates into a noisy ruckus. This is not an easy decision. The audience learns there is an innate culture of welcoming people onto their land usually. They help others in need with the use of herbal medicines. However, the unknown intentions of the people on the nawi must be factored into consideration. 

Enoch has gathered a magnificent cast. A standout performance was given by Aaron Pedersen, playing Gordon, who delivered a strong emotional performance throughout, particularly in his final speech. Elaine Crombie (as Jaky), Dalara Williams (as Wallace), Kyle Morrison (as Joseph), Beau Dean Riley Smith (as Albert), Guy Simon (as Gary) and Joseph Wunujaka Althouse (as Lawrence) complete this stellar cast and worked together to create some comedic lines, breaking up the tensions during the discussions. They earned a well-deserved standing ovation from the audience on the night I attended.

The timing of the opening performance at The Riverside Theatre comes just after the result of The Voice Referendum, and we leave with an echo of pre-colonisation life and questions of how different things may have been if certain events in history had changed. Jane Harrison has lent her voice, in a form common to First Nation Australian peoples – as a storyteller to fully capture our attention.

The Visitors was a thought-provoking performance that will stay with the audience long after the lights dim.

“Visitors don’t stay; that’s why they’re called visitors” – Wallace.

This review also appears on It’s On The House, or checkout more reviews at Dark Stories Theatre Reviews.

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