Every Single Sydney Theatre Award Should Go To…

The Elevator

The Elevator Rating

★★★★★

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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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“We Have A Great Relationship, Apart From The Communication Issues.”

Cooked

Cooked Rating

★★★★★

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Cooked by Angel Duggan and Lana Page
At KXT on Broadway Downstairs

Creative Team
Director: Laura Jackson
Writer/Performer: Angel Duggan
Writer/Performer: Lana Page
Performer: Sally Evans
Lighting and Sound Designer: Sansona Trinh
Costume, Set and Props Design: Sam Hollingshead
Producers: Angel Duggan and Lana Page

I feel a lot of hard work went into this production but I’m not sure if it was cooked, more like half baked.

“Christmas this year is “cooked.” Logan’s world is tested when her mum starts to come home late, disappears, and acts ‘off’. She looks to her best friend Jean for support, however a new boyfriend – the kind that you have a ‘funny feeling’ about – begins to test their friendship. Full of vaping, Tn’s, Kookai, and ‘woo woo energy’, these women navigate their insecurities, judgements and some hard truths about each other.
Christmas is fucked but maybe New Years will be better?”

We never heard about New Years funnily enough. A lot like the ending, where we didn’t really get a conclusion.

The play tries to dabble with some heavy hitting themes about alcoholism, depression and domestic violence but nothing really hits the mark. I thought I’d be coming out of this play crying but instead felt rather empty. This could have been the playwright’s intension.

 

I understand why actors start writing their own work so they can create opportunities for themselves and others but sometimes as playwrights, actors are too close to the material, so they don’t quite get there and connect. A lot of sections of the play seemed over rehearsed and not in the moment. There was a lot of playing to the balcony and not the people in front of you, which made it feel really disconnected. Perhaps the show needs to be workshopped more. Opening the play with some super out of tune singing was a choice!

This was their second show in a short run at BXT on Broadway downstairs. I wonder if some of the issues I saw were to do with the classic second show slump.

The space downstairs is tiny, it could do with some slightly raked seating, as sight lines are a problem unless you are in the front row. The speakers are deafening; the high volume is not needed for such a small space. They were so distracting throughout the entire play and so many moments were destroyed because of this. Like the seats upstairs, these are just as uncomfortable. It was lucky the play was only 55 minutes long. Take a cushion with you.

Sally Evans performance as Mum was quite the standout. She craftily balanced quirky comedy, melodrama and very dramatic scenes with ease.

It is lovely to see a full house with so many people supporting live theatre.

To book tickets to Cooked, please visit https://cookedtheplay.weebly.com.

Photographer: The Garage Photo Studio

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Forget Me, Please

Forget Me, Please

Forget Me, Please Rating

★★★★★

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Forget Me, Please
Presented by Sophie Davis
At Old Fitz Theatre

From the moment the lights dimmed at The Old Fitz, audiences were captivated by the screeching sound of an anxiety inducing track followed by immediate ear piercing silence, setting the tone for a tense and thought provoking evening about relationships, trauma, and the heartbreaking notion that most people have experienced at least once in their life – I wish I could forget you.

Written by Sophie Davis and Directed by Jessica Dicosta, the production tells the story of two people, Andi and Sasha, who meet by coincidence in triage after both suffering concussions. As the story progresses, they pair develop into friends, and eventually to lovers, whose experiences are shaped by Andi’s unravelling post-concussion symptoms. Beneath the surface, it explores themes of co-dependency, trauma bonding, and the effects of mental health on relationships. These ideas come to life most clearly through Andi’s recollection of experiences in its non linear form, inviting audiences to share the complexity of her brain.

At the centre of the story, Kala Gare and Shannen Alyce Quan produce raw, emotional and witty performances as they recount the experiences of Andi and Sasha. Through times of hardship, love, play, and vulnerability, these two actresses’ insanely strong chemistry carry the story of Andi and Sasha in a way that is truly breathtaking to the soul, and devastating to the heart, whilst still bringing moments of joy and laughter to the audience.

The set contains a pair of white boxes that the cast move and shape to set different locations, creating seamless set changes that are equally impressive by design and simplistic by execution. Similarly the wardrobe, lighting, and props also remain in all white for the majority of the show and is a reinstating factor of Andi’s supposed insanity. The use of colour in the conclusion of the piece is a subtle yet powerful reminder that sometimes it’s the things we love that drive us mad, and it may be healthier to forget than to hold on.

Music and sound wrap around the production beautifully, adding a level of intensity to the moments of psychosis that otherwise may have been missed. Whilst minimal in its use, the music involved in the scenes and scene changes are an essential world building tool that should not be overlooked.

 

Throughout the performance, the audience responds with sharp inhales, giggles, silence, and visible emotion. The moment of a seemingly innocent spider kill sparked a particularly interesting reaction from the audience, as they along with Sasha felt the betrayal performed by Andi, foreshadowing her later (or earlier) action, showing just how successfully the cast connects with the room.

Altogether, Forget Me, Please is a moving and thought provoking piece of independent theatre. Its greatest strength is its simplicity in conveying its story through relatable and real world experiences. By the time the final bows arrive, the production leaves its audience with emotional stimulation as they leave pondering what they would do if they had the option to forget the person that broke their heart the most.

Forget Me, Please is a gut wrenching yet charming reminder of the human experience regarding mental health from both the perspective of the person experiencing it and their loved ones. For audiences who enjoy an intimate and relatable story, this is a production well worth stepping into.

Forget Me, Please is running at the Old Fitz Theatre from Friday the 4th of September to Friday the 11th of September. For more information and to book tickets, head to https://sydneyfringe.com/events/forget-me-please/

Review by Elleirah Moon

To book tickets to Forget Me, Please, please visit https://www.oldfitztheatre.com.au/whats-on-1.

Photographer: Lucy Parakhina

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Dying To Live: Harlots At The Old Fitz

Harlots

Harlots Rating

★★★★★

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Last night I had the pleasure of witnessing Harlots by the New Ghosts Theatre Company at the intimate Old Fitz Theatre in Woolloomooloo. It was a fantastic production by an all-female and non-binary team and cast. The show was an immersive experience, taking place in and around the audience, with the stage utilised to its maximum capacity. Directed by Janine Watson, the play sucked me into its world and spat me out again 90 minutes later.

The denigrating term ‘harlots’ has been reclaimed by writer and producer Emma Wright in this critique and love letter to Shakespeare. Having studied one Shakespeare play per year throughout my six years of high school, I was excited to see the women from his work get more time in the spotlight. The work explores what happened in the time between his female characters faking their deaths and re-emerging with their names cleared (Hermione in The Winter’s Tale and Hero in Much Ado About Nothing)… The play depicts freedom in the form of an underground society of women whose values were love and healing. How ironic that these women had to “die to live” and a hole in the ground provided more freedom than society’s shackles. The characters explore the healing powers of psychedelics and working through trauma in a supported environment. Madness and the role of violence in society are called into question, can these things be escaped or are they inherent?

Each and every one of the cast played their role sublimely. They were all equally impressive and distinct. Jo Downing’s portrayal of Beatrice was a marvel. Ella Prince was a powerful Helena; I loved their abrasive mannerisms that boycotted the idea of traditional femininity. Hannah Waterman and Megan O’Connell had incredibly complex chemistry on stage as Paulina and Hermione. ‘Ana Ika was a dreamy Ophelia and Madeleine Li’s monologue at the end of the play as Hero will be something that stays with me for a long time.

 

The set design (by Kate Beere) was simple yet effective, inviting us into the women’s underground world of mushrooms and rest. The costumes (by Aloma Barnes Siraswar) were beautiful and thoughtful. I loved the attention to detail of the mushrooms growing on Hero and Hermione’s dresses for their underground lives. The lighting (designed by Luna Yuet Yee Ng) and music (composed by Clare Hennessy) helped indicate villainy and different states of consciousness.

Being a Shakespeare inspired work, I was worried that I would find it hard to follow (especially after a day at work). However, the script was intelligent and engaging without being too much hard work for our 21st century technology addled brains. True to form, the script dipped between verse and prose, masterfully using iambic pentameter to challenge status. I loved the references to other canonic literature and the idea that the women that Shakespeare wrote would be well-read and learned.

The audience was captivated, with the occasional giggle at a provocative line and well-deserved, sustained applause resonating long after the cast had left the stage. I highly recommend seeing Harlots, it was an entertaining, provocative and thought-provoking exploration of some of Shakespeare’s lesser known heroines. Showing until 6 September in Sydney.

To book tickets to Harlots, please visit https://www.oldfitztheatre.com.au/.

Photographer: Phil Erbacher

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