I Swear

I Swear (British Film Festival Media Preview)

I Swear (British Film Festival Media Preview) Rating

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1

Many people still think that Tourette Syndrome is all about swearing, not understanding the deeper complexity and impact of the condition. With education comes acceptance. That is the message at the heart of I Swear, a biopic about John Davidson, the Scottish activist who helped raise awareness of the syndrome after developing symptoms as a teenager. Written and directed by Kirk Jones, the film is a compassionate, beautifully told story that is both heart-warming and heart-wrenching, often at the same time.

While the plot was safe and highly predictable, it was the stunning performances that grabbed my attention and didn’t let go. Robert Aramayo, from Rings of Power, plays an adult John so beautifully that all the physical ticks and outbursts feel natural and authentic. There’s such a warm humanity to John, and his rejections and setbacks are truly heart-breaking. The swearing, while tragic in their origin, are also timed and delivered so well you can’t help but laugh, despite the dramatic consequences. Some lines are absolute classics, with John yelling at the police he has drugs on him, or the judge that he’s a ‘see you en tea’. Aramayo is supported by fantastic cast including Peter Mullan, Maxine Peake, and Shirley Henderson. There isn’t a weak link in the chain.

 

 

The story begins when John first notices uncontrollable ticks when he’s only 13. Scott Ellis Watson is brilliant as the young John, convincingly playing a confused and scared young boy as the condition destroys what looks like a promising football career and leads to the break-up of his parent’s marriage. With the condition unrecognised and unaccepted, John is considered a trouble-maker, bullied and outcast not only by other school children but the broader community. It’s devastating.

When John grows up, he lives with his mother who struggles to cope with his behaviour and insists that medication is the solution. When John meets Dottie, the mother of an old school friend, his life begins to change. By showing compassion and understanding, Dottie makes John feel accepted and safe. She tells him never to apologise for something that can’t be helped. This acceptance empowers John to build a normal life for himself, eventually helping others with the condition and educating the community about Tourette Syndrome. There were a few moments where the drama became a little too forced, but I gave the authenticity the benefit of the doubt. It might actually have happened that way.

I Swear is not only moving and inspirational, but educational, turning misunderstanding into revelation. The entire theatre came out raving to each other about the power of the story. I can’t recommend it enough.

I Swear is showing as part of the British Film Festival at Palace Cinemas Moore Park from November 5 to December 7, with a program full of the best of British Cinema.

To book tickets to I Swear (British Film Festival Media Preview), please visit https://britishfilmfestival.com.au/films/bff25-i-swear.

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Fasten Your Seat-Belts, This One Soars!

Fly Girl

Fly Girl Rating

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3

I’ll take the chicken, but I have ZERO beef with Fly Girl!

Inspired by the true story of Deborah Lawrie, Australia’s first female commercial airline pilot, Fly Girl hits new heights as a clever, heartfelt and joyously funny but important retelling of one woman’s fight to get off the ground in an era when airlines thought “the fairer sex” should serve the nuts, not fly the planes.

The Ensemble Theatre’s intimate setting is the perfect launchpad. The set bursts with 70s orange, jet-age charm and a black flight tracker hanging centre stage. We’re greeted by flight attendants in high-waisted orange trousers, pinstriped shirts and iconic caps who usher us to our seats with perfect period poise and playful improvisation. The energy before take-off is pure fun; bright, bustling, and buzzing with anticipation.

Writers and performers Genevieve Hegney and Catherine Moore open the evening by announcing we can expect 40 characters, 5 actors and “not one stage crew.” They aren’t kidding. The entire cast (including Cleo Meinck as Deb, Emma Palmer, Alex Kirwan, and the writers themselves) morph seamlessly between roles, each transformation part of the fabric of the storytelling. Props shift and scenes change in full view, yet it never breaks the rhythm. If anything, it adds to the show’s theatrical charm, blending quick wit and creative ingenuity into narrative flow.

 

 

We meet Deb as a determined teen, inspired by her dad’s love of flying. By her early twenties, she’s applying to Ansett, only to discover that no amount of skill will outweigh a hiring policy drenched in sexism. Reg Ansett, rendered here with delicious absurdity, dismisses women as “unsuitable” for flying due to supposedly unpredictable “female issues.” Deb persists, taking on Ansett with a David and Goliath style battle, helped along by the sisterhood collectively engaging in the “Girlcott” of 1979.

The jokes hit hard and fast, weaponising humour to expose the absurdity of systemic discrimination. Real headlines are seen on the prop newspapers including “Pregnancy! Is it a disease?”, echoing the playground logic of the airline’s defence. Amid the laughter, the truth stings. For all its sparkle and comic verve, Fly Girl packs emotional punch.

The cast’s chemistry is electric, their comic timing impeccable, and their energy infectious. The audience was audibly along for the ride, laughter giving way to silent tears as history reasserted its gravity. I overheard someone in the bathroom talking about remembering the whole situation as it was happening and what an amazing experience it was to now watch the show. The hardest emotional landing comes when Lawrie herself joins the cast onstage for curtain call with her solicitor from the landmark anti-discrimination case; a moment that reduced already standing ovation to more applause and greater sobs.

Director Janine Watson keeps the tone perfectly balanced; funny yet furious, heartfelt and powerful. Fly Girl is theatre that entertains first, then quietly takes flight as something greater: a tribute to resilience, equality, and one woman’s fight that changed the course of Australian history.

Fasten your seat-belts… this one soars.

To book tickets to Fly Girl, please visit https://www.ensemble.com.au/shows/fly-girl/.

Photographer: Prudence Upton

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‘To Save Your Soul, Shake Your Soul.’

Daytime Deewane

Daytime Deewane Rating

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3

Daytime Deewane is an uplifting and high-energy play by award-winning UK writer Azan Ahmed, written from, in his words, ‘a place of radical joy. ‘

The play dives into the 1990s’ era of London’s daytime raves, when brown men were often excluded from nightclubs, forbidden to share public space with non-Asians. To circumvent this, young brown men from the Asian diaspora converged on nightclubs between 3pm and 6pm to lose themselves in the cultural euphoria of Bhangra music and dance.

Racism and identity and the ways in which they perniciously intertwine are the overarching themes of Daytime Deewane. For example, if you’re told enough times that your brown or black skin makes you inferior, odds are you might come to inhabit
this self-belief.

Directed by Iranian-Australian Sepy Baghaei (Wish You Were Here, Gate Theatre), Daytime Deewane introduces Muslim cousins, Farhan (Ariyan Sharma) and Sadiq (Ashan Kumar). Both young men are heavily burdened by generational family expectations of them to be ‘good Muslim boys’ and ‘proper British men’ 1. It is 1997 and they are at the last ever London daytime rave. Bhangra music plays, a dhol drum beats hauntingly. Here is a safe space in which they can fully immerse themselves into the euphoric music and dance, a place to celebrate culture and free expression.

Farhan is the quiet cousin, the conformist to Sadiq’s rebel. They argue, disagree, plead, weep, push and shove. They only have until 6pm to come up with the solutions to their questions. This is, after all, the final daytime rave.

 

 

Playwright Ahmed brilliantly weaves spoken word with Bhangra music and dance, lending a sense of urgency to the play. Each of these elements synergise exquisitely with the other, with Bhangra the conduit that unites Farhan and Sadiq in their explorations of self. The language of the play is poetic, tender in places, angry and bold in others. Short pauses in dialogue allow the audience to digest the nuances and complexities at hand during that racially divisive time in London’s history.

Ariyan Sharma (STC, Dear Evan Hansen) as Farhan is terrific casting. His portrayal is rich with humour and compassion, his belief in the unbreakable bond of cousins is touching and evocative. The audience laughed, cried, cheered him on. His interactions with the audience were engaging and highly entertaining. He brings humour and compassion to the role, his whimsical facial expressions are timed perfectly, and yes, he can dance!

Sadiq is played by Ashan Kumar (MainStage Debut). He dresses gangsta-style, soccer hoodie, baggy denim jeans with chains, thick silver jewellery, and sports a flip-top Motorola. Kumar inhabits Sadiq – he is angry, funny, tender, loud, despairing and inherently likeable. He speaks volumes with expressive hand and arm gestures that intensify every spoken word. His audience interaction was hilarious.

The set clearly reflected a 1990s’ nightclub with strip lighting on the floor, shooting strobes, and neon green strip lighting on the ceiling. During the dance components, the light show brought the stage to brilliant life.

Daytime Deewane is a thoroughly enjoyable, immersive production richly imbued with the playwright’s ‘radical joy.’ Don’t miss it!

To book tickets to Daytime Deewane, please visit https://riversideparramatta.com.au/whats-on/daytime-deewane/.

Photographer: Phil Erbacher

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This Restless House

This Restless House

This Restless House Rating

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13

Cats in the Cupboard Productions have magnificently presented an Australian debut of This Restless House at Newcastle’s Civic Theatre Playhouse. This award-winning production written by British playwright Zinnie Harris is a reimagining of the ancient Greek tragedies originally written by Aeschylus in the 5th century BC. In true Greek tragedy style, the heart-wrenching plot is fuelled with murder, revenge and sacrifice.

From the moment I entered, I was captivated by the three Fates characters played by Elen Attard, Kira Woods and Ryan Gladman who sat aesthetically mounted on a peak of stacked crates, blowing bubbles. The dynamic trio’s sensational costumes, hair and makeup and overall mystical presence was commanding throughout. They worked together in a somewhat chorus-like manner with dialogue, actions and singing in well-rehearsed unison. Mikaela Corrigan’s choreography for the Fates was excellent, and I also thoroughly enjoyed her choreography for Orestes, played by Ronan Myatt-Kane. Nicholas Pavan’s choreographed comedic dance scene, including suave and stylish disco moves, brought the house down.

Nicholas Pavan also expertly doubled as the lovestruck Watchman and then Michael- the head doctor in the psychiatric unit. Nicholas’ outrageous adult scene with Ianthe, played by Liz Vassilacos, showed commendable skill and dedication. Liz Vassilacos, as Audrey, showed remarkable depth in her contrasting role as a psychiatrist. Her character’s plummet into the abyss of somber paranoia was portrayed exquisitely.

Agamemnon, played by Benjamin Louttit, shattered the audience in his explosive opening scene with his daughter Iphigenia (delivered by Stephanie Lee.) I can still hear Stephanie’s blood-curdling screams and feel Benjamin’s angst and sorrowful heartbreak as he sacrifices his daughter.

 

 

This harrowing scene, like other intense moments, was amplified by the disturbing, eerie soundtrack and exemplary lighting techniques. The soundtrack utilised subliminal messages and wormed its way supernaturally through my veins; at times resting, then pumping to the brink of nausea. The lighting provided a perfect companion to the sound and action with stellar use of colours mirroring themes. The strobe lighting intensified the stage horror and overloaded my senses.

Claudia Bedford engaged the audience as the enraged queen Clytemnestra. Driven to drink and a steep decline in her humanity after her husband’s great betrayal and tragic loss of her young daughter, Claudia delivered this spiralling character with great power and gust. Claudia’s torturous scene with Lily Cox as Cassandra similarly impaled the horrified audience. Lily’s severed tongue scene was grotesque, gut-wrenching and brilliantly delivered.

The unfortunate Butcher, essentially Clytemnestra’s henchman, was portrayed by Dean Nash. Dean’s performance was sincere throughout and flawlessly demonstrated his conflict with duty and personal ethics. His anguish was clearly visible performing his Queen’s unholy demands.

Ruby Page ignited the stage as Electra—the neglected, tormented daughter who develops a thirst for justice after reuniting with her brother Orestes. The pair fan each other’s fury towards their mother, leading to an explosive vengeance. Ruby’s character transformation throughout was remarkable. Electra, initially a neglected child, develops into a vengeful teen and then rendered engulfed with regret and traumatised.

Cats In The Cupboard have shown a most admirable commitment to sustainability by handcrafting most of their brilliant costumes. Creatively sourcing second-hand items and repurposing them into unimaginable sparkling splendour. I loved all the bling, glitter, and boldness of the costumes. In particular, the costumes of Aegisthus, played by Justin Rose, were absolutely dazzling as was his performance, and the plentiful costume changes kept things continuously visually striking.

This Restless House whisked the audience away into an experience that will linger on. Mikaela Corrigan’s direction of this incredibly talented cast and production team is absolutely stupendous. The meticulous attention to the lighting, costumes, hair and makeup and soundtrack was professional in every aspect. The innovative use of many levels and spaces utilised the small theatre in such a way that gave the clever illusion of being worlds larger. This Restless House was without doubt one of the most impactful and magnificent plays I have seen…ever! Boldly unique, utterly harrowing at times and ever-fast, brilliant.

To book tickets to This Restless House , please visit https://civictheatrenewcastle.com.au/what-s-on/all-shows/this-restless-house.

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