Monkey Baa wonders: “Where is the Green Sheep?”

Where is the Green Sheep?

Where is the Green Sheep? Rating

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Making brilliant live theatre for small children is tricky, but Monkey Baa make it look easy.

A review of “Where is the Green Sheep?” at The Coliseum Theatre, Rooty Hill.

Small children are the best audiences in the world but also toughest. They don’t clap politely. They don’t pretend to enjoy themselves if they’re not having fun. They will just get up and wander off if they are bored. There was no danger of that during Monkey Baa’s Where is the Green Sheep?

“Where is the Green Sheep?” is a beloved picture book, a modern classic created by Mem Fox and Judy Horacek.

So, how do you adapt a treasured children’s picture book into an immersive visual theatre experience?

You’ve got to think about the size of the stage and the size of your audience. The Coliseum is a very big stage, and the stalls were crowded with hundreds of tiny children, slightly bigger children, and their grown-ups. That means you’ve got to fill that space with wonders. Think big!

You’ve also got to work out how you’re going to make the audio work. Monkey Baa wisely decided not to mic up any of their performers. Each of the three performers got to focus on puppeteering, dancing, movement and miming. The audio throughout is a bouncy mix of sparkly original music and lines read aloud by children from Bankstown West Public School.

The stage is a lovely green field with round hills and a big arched screen in a hill for projected animations. Colourful props are carried or rolled on and off stage throughout the show.

The big projection screen is a mixed blessing. Sometimes the interaction of the screen and puppets works brilliantly, for example with animated splashes for water for the Bath Sheep.

 

 

But it was interesting to watch and listen to the reactions of the children in the audience. Their response switched dramatically between animations projected on the screen and live puppetry on the stage. An animated sheep flying across the screen was watched, like it was a movie in the cinema or an animated show on the TV or a phone. No interaction. Just consuming it like filmed media. The reaction to the real live puppet sheep and live performers was completely different. Happy shouts and interaction, clapping and giggling. The difference was obvious from my seat in the audience.

The animated projections added something beautiful when they enhanced the live puppetry. A live sheep puppet flying a kite on screen. The moon and starry night sky. Rain falling. The interior of the circus tent. This brought the scenery alive. But an animation of a sheep? It’s no longer alive and real.

This was most striking with the Near Sheep and the Far Sheep. The Near Sheep was fully projected on screen, duplicating the pages of the picture book, but with the book, when the Near Sheep fills the page, it does look like that sheep is near to the reader. On the big screen on stage that sheep became the Gigantic Sheep, scaling up bigger and bigger until it filled the whole screen, looming over the three performers like Sheep-zilla.

In comparison the simple effect of the Far Sheep being taken off stage by a puppeteer and up the aisles to the back of the audience in the stalls brought whoops of laughter and instant understanding. The Far Sheep was far away from the people on the stage.

The sheep puppets, made by Kay Yasugi, are fabulous. Big, soft and squishy with some sparkles in their wool that catch the light. The three performers, Ebony Tucker, Michael Ho and Paul Grabovac, are absolutely world class.

Highlights? The Bath Sheep, the Rain Sheep and the Far Sheep.

The simplicity of a performer blowing bubbles was met with a huge cheer of ‘bubbles!’ from everyone and the Bath Sheep, splashing and being dried with a towel had the audience in stitches.

The Rain Sheep is beautiful and colourful, dancing around a lamppost and opening an umbrella, in a woolly tribute to Gene Kelly in “Singing in the Rain.”

Knitted hats off to everyone at Monkey Baa, with special mentions to director and writer for the stage Eva Di Cesare, and puppetry director Kailah Cabanas.

Monkey Baa’s adaptation of “Where is the Green Sheep?” is an absolute delight that everyone will love.

Monkey Baa’s “Where is the Green Sheep?” is touring New South Wales, Tasmania and the ACT.
https://www.monkeybaa.com.au/shows/where-is-the-green-sheep

To book tickets to Where is the Green Sheep?, please visit http://www.monkeybaa.com.au/shows/where-is-the-green-sheep.

Photographer: Robert Catto

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The Complete Works of Jane Austen (Abridged)

The Complete Works of Jane Austen (Abridged)

The Complete Works of Jane Austen (Abridged) Rating

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It was a fast forward and rewind enacted synopsis of Jane Austen’s plays from go to woe on the opening night. The audience was in for a charming, funny and rapid view of Austen’s women and men outlining the stupidity of Regency society through to pointing out that for most women of that era, it was ‘marriage or poverty’. Definitely read at least a couple of her novels for her ironic view and wonderful language on family and economic values. Best of all, the play is about real sisterhood and friendship through trials, tribulations and at times love and hope.

The set was a cartoon version of a Regency living room with the obligatory chaise lounge. Heidi Jilwan and Georgia Britt set the scene, breaking the ‘fourth wall’ and addressing the audience. Wearing Empire style dresses, bonnets and hairstyles they set to debating which was the best novel. As the audience settled, the immediate problem of a missing leading man was solved by a willing replacement actor ‘from the audience’.

Enter the actor, Peter Hoekstra-Bass, who quickly highlighted that he didn’t have a clue about Austen’s work but ‘needed the gig’. This was wonderful for any audience members who equally hadn’t had any information or who had only watched the television series, Bridgeton.

 

 

The ensemble had a great natural chemistry as if they were all best friends. Each actor portrayed different characters in the book with asides to what their modern personality really thought.

Bonnets and top hats were used to depict new characters and each actor changed style and attitude depending on the book. Peter was at times, convincingly dashing as Darcy or painful as a parson clumsily professing love. Both Heidi and Georgia were witty, ditzy and lovestruck as each female character came alive with explanations to Peter why women reacted to the wrong man at the wrong time and how long self-reflection takes before they realise with whom they should be in love. Peter was both wonderfully bewildered and superb when putting on a hat altered his persona and posture.

Heidi and Georgia were convincing as best friends who were trying to understand Austen’s view of women, marriage and what choices they could or couldn’t make.

Through Ali Bendall’s tight direction, the messages and wit of Austen came out quickly as each farce, family and affair were rapidly thrown out to the audience to make of it what they would and adding modernisms and comparisons to modern love and female issues. This could be frustrating at times with clunky text and perhaps breaking the fourth wall too often. The audience laughed and clapped as the cast pushed us along to make sense of it all and it really didn’t matter anyway as Austen herself, through the character of Charlotte Lucas in Pride and Prejudice, said, “We are all fools in love.”

To book tickets to The Complete Works of Jane Austen (Abridged), please visit https://genesiantheatre.com.au/events/the-complete-works-of-jane-austen-abridged/.

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The Best Griever That Church Had Ever Seen!

Life & Death of Harry Bennett

Life & Death of Harry Bennett Rating

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4

“The best griever that church had ever seen!”

A review of “The Life and Death of Harry Bennett” at The Sky Theatre, Manly.

Play Title: The Life and Death of Harry Bennett
Playwright: Barbara Courtille
Director: Annie Gurton
Venue: The Sky Theatre, Manly.
My Rating: ⭐⭐⭐ / 5

“The Life and Death of Harry Bennett”, by local playwright Barbara Courtille, tells the story of Harry Bennett, a celebrated investigative journalist who has spent his life trying to be the best by telling the personal stories of others. A strange encounter leads him to having to face his own story as he finds himself being led through the unknown by unsympathetic mystical beings. Whilst he is being encouraged to complete the unfinished business of a lifetime, this production provides the audience with a surreal and humorous look into the world of the beyond and the true meaning of life. On walking into the endearingly traditional proscenium-arched theatre, one is struck by the Manly Theatre Group’s professionalism, creativity, and community warmth. Relaxation and anticipation begin immediately.

 

 

Professor Plimpt, played by Phillipa Coleman and Harry Bennett played by John Cross, opened the play with immersive energy and flare. Phillipa held us with her character believability and presence, and John’s commitment to role was top notch. The strength of this opening scene engaged and delighted the audience and set the tone for the unfolding of this amusing and complex tale. The Mother, Plants, Automaton and Yoga Teachers played by Liz, John, Dharma, Maureen, Sophia and Jessica, embodied their roles with presence, nuance and commitment. Working as a cohesive unit the story’s complexities unfolded through the focus of each player in their role.

The stage of this glorious little theatre was utilised to great visual effect to create a minimal set that was successfully ambitious, fitting the space as well as the theme of the story. The strong, artistic, surreality of this story was creatively emulated through the costuming (or lack there of!) and prop design which was a delight to encounter for each character and scene; respectful nod to the designer and creator of the giant shredder and other seemingly impossible visual creations. Whether being surprised by the entrance of a fruity bike, empathising the need for tumeric-coconut chai over a speedy entrance into work or wondering at the prowess with which each performer wrangled their numerous and often bulky props the fullness of the creative design of “The Life and Death of Harry Bennett” will delight your interest.

One must also note the lighting and sound design which immersed the audience in the strangeness and clarity of this quirky tale.

Overall, this production is a viewing that will make you laugh and wonder. It is perfect for fans of comedy and the surreal and will leave you thinking about how one chooses to live their life, remind us that overwatering plants can be fatal and that maybe OH&S really is a necessity to manage life’s risks.

To book tickets to Life & Death of Harry Bennett, please visit https://www.manlytheatregroup.com/.

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Breathe The Mountain Air

Le Chemin

Le Chemin Rating

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3

Breathe the Mountain Air

A review of “Le Chemin” at The Sky Theatre, Manly.

Play Title: “Le Chemin”
Playwright: Liz Eastland
Director: Kathleen Walker
Venue: The Sky Theatre, Manly.
My Rating: ⭐⭐⭐⭐ / 5

“Le Chemin”, written by Manly playwright Liz Eastland, tells the story of four strangers who embark on a pilgrimage to walk the Camino trails of the Pyrenees. As they journey through breath-taking landscapes and ancient villages, the physical trek becomes a voyage of spiritual self-discovery. Seemly unexplainable encounters lead to revelations and each travellers’ perception of themselves is challenged. Immediately on entering the theatre the audio-visual aesthetic sets the tone for the enticingly emotive journey that the audience will be taken on.

All seven of the actors in this play stole the show with their charismatic and believable performances as the characters’ relationships with each other and themselves developed and blossomed. Rory’s opening as the Priest was righteous and empathetic, in equal measure. Ambre’s embodiment of the gentle and laid back Lene was absolutely compelling and we were frozen in time as she sang. Jody’s strong, but unsure, Mallory presented truth in voice and movement. Christophe’s stoical but broken Henri was nuanced and clear. The positive outlook that oozed from Phil’s Nick was polished and infused the play with joy. The Oracle was rightly fox-like thanks to Valentine Bru and Daisy performed Kathryn’s ‘influence’ with hilarity and smooth vocal tones.

 

 

The delicately blue and white stuccoed, proscenium-arched stage of this glorious little theatre was utilised to great visual effect. The set varied and scenically clear, fitted the space as well as depicting the world of the story. The various characters and cultures depicted were gratifyingly given life through the carefully considered costuming and the choice of props and their use.

One must also make the point that the lighting and sound design engaged the senses by emotionally and physically immersing the audience in each scene, as the characters travelled through both the wilderness and the urban environment. The dynamic musical choices definitely kept the audience informed when crossing the border from France to Spain; uplifting to say the least.

Overall, this production is a must see for it’s heart-warming nature and stellar performances. It is a perfect 80 minutes (approximately) of wholesome and amusing entertainment and will leave you, quite possibly, wanting to take that journey that you have been promising yourself for far too long.

To book tickets to Le Chemin, please visit https://www.manlytheatregroup.com/.

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