As You Like It. Really! Shakespeare telling me what I like from beyond the grave? I’m offended! How could he assume what I like? How I like my plays? I like my plays fresh and intense and unique. So generally, I don’t selected Shakespeare lightly (as mentioned in my response to Anthony Skuse’s recent Julius Caesar and you can read about that here)… and this is my third production of As You like It. The first was as a teenager sitting amongst the trees of the Coffs Harbour Botanic Gardens (I was 16 I think?) and the one after that was a SUDS production at the Seymour Centre in the late 90s… and now Kate Gaul’s production at Carriageworks. I am fairly familiar with the play – though I am no scholar, I think it’s worth looking at the critics response to this play across time.

George Bernard Shaw claimed that As You Like It was really a pop-sensation – compiling all the bits that audiences like and missed out on being a great piece of writing. Tolstoy was supposedly annoyed at the immorality of the characters. It is not my favourite of Shakespeare’s comedies – I do indeed favour Much Ado About Nothing (and there is a production on, presently, Bell Shakespeare I think, but I wasn’t invited and so like a vampire, I shall not attend)… but As You Like It has some of the great speeches of Shakespeare including “All the World’s a Stage…” But it has a blend of the pastoral romance you can find in Mid Summer’s, the deep/dark melancholy brooding of Hamlet via the character of Jacques, the witty banter of Much Ado and the cross dressing of Twelfth Night – so it covers alot of ground: gender politics, love, life, status, loyalty, marriage, familial obligation.

In the cavernous cold concrete of Carriageworks, Kate Gaul and her band of merry artists has created a beautiful Forest of Arden. Luiz Pampohla’s lights – a mellow multi-coloured festoon, arc up to the ceiling… A patchwork of patchwork quilts hang behind a forest of instruments played (and manipulated) by David Manuel and Daryl Wallis (also credited with composition). There’s a warmth, a homeliness to the show. And the cast – a motley crew of familiar and fresh faces – feel like a family of players who shift and change and transform – clowning and singing (music by Daryl Wallis) and dancing (Courtesy of Natalia Ladyko). Most notably about this particular production is the use of clowning – which essentially highlights the fun and folly in love (the pursuit of AND the maintenance of…). It’s an interesting idea – which allows the performers to transform and tumble in and out of character. For those looking for a soulful reasoning of love – they may be disappointed.

On the opening night I heard much about Vanessa Redgraves performance – but like all whippersnappers who did not see this performance – this is a comparison I can’t make. I am very certain though that Gaul’s production will sit amongst the exclusive 8 productions I will see of this play in my lifetime. For me, in my theatre-going and absorption it is essential to not hold one production above another – but to see what the production we are seeing may offer an audience. I was in a very fortunate situation to have brought to the opening someone who was not familiar with the play – who thoroughly enjoyed the production. And so I think is worth considering about what the play, and what specifically does this production offer the new theatre goer/or student (as I believe this is on the school syllabus)?

Perhaps what Gaul’s production offers is a window into physical fun. Love as fun. Love as foolish and obvious and embarrassing… as clowns are. That all of us are not only merely players, but we are fools for love, fumbling yet magical – and that we all possess that which in the face of love/falling in love/falling on lust makes us seem ridiculous.

It is a handsome and well crafted production, with some genuinely beautiful staging, and exquisite use of light. The performances are clear and have moments of casual flippancy and cuteness, and a robust focus. I don’t like to single out performers in Gaul’s production as I believe she often focuses on creating such a cohesive ensemble – but I particularly was magnetized by Jane Phegan’s Celia – direct and devoted in her love of Rosalind.

What Kate Gaul does is remarkable. And no one else has the stamina, skill, focus and to pull off a production of this scale and this complexity on the resources she has. Though there are aspects of the production which I found counter the tone (for example the dark torch-style songs seemed more in keeping with the tone of Jacques than the uplifting, bubbly love of Orlando), this is a significant production, which I’m sure will find a joyful younger/newer audience thinking more about the value of the diverse four couplings as the curtain is drawn.

The more theatre I see- the more plays I read- the more I feel the groaning weight of history, of scholarship, of stories, of “words, words, words,” that I don’t know- haven’t seen productions of. I have limited experience of Chekhov- having only read The Seagull, Three Sisters and The Cherry Orchard… lucky for me Uncle Vanya will be making his way onto stage at The Sydney Theatre Company in November this year- saving me an afternoon hunched over a yellowing and somewhat brittle penguin edition. But largely my relationship with Chekov has been theoretical- and not practical. I didn’t see Cate Blanchette as Nina in 1997… I dd not see the original Russian production nearly 100 years earlier in Russia. I have however had the opportunity to see Siren Theatre company’s The Seagull at Sidetrack Theatre this month.

The value of classics- are they hold within them a set of questions or timeless universal questions (note that I have no said “universal truths”- I believe that plays are largely in the business of raising and provoking questions more than “solving problems” of any grand or universal nature.) for the audience to engage with. Classics comfort us. Providing us with critical distance (through temporal and geographical) so we may extend our compassion large distances and so we may to examine our opinions, reactions, feelings, experiences in a psychologically safe way. Classics are valuable in what they remind us about enduring human perspective- the sameness of our struggle and yearning. And yet, for me there is a sadness in this reassurance- after years and years – nothing has changed- we are stuck in the same patterns, of failure and selfishness, we are burdened by guilt and pride- duty and love. It is the classics which inform where we are artistically now- and are an essential part of any healthy theatre diet.

There is a guarantee with Kate Gaul’s work- that it will be a polished and professional piece of work. A director with more runs on the board than any other woman of her generation, a passionate advocate for emerging theatre artists- a tireless jobbing director- Gaul has already had a busy year… and it is not over yet. Gaul carries with her a gravitas that draws close some of the most respected and remarkable artists of the independent and mainstream theatre. Her work is always handsome. Always finessed. Always clear and confident.

The Seagull, first produced in 1896, concerns the passions and struggles of four artists of two generations- two actors, two writers- as they search for art, fame, recognition and innovation. Trapped in a pastoral setting- the imaginations and egos run rampant- and hypothesis are offered about the meaning of the experience of being an artist. Interwoven throughout these philosophical explorations, love shows itself to be a frustrating and necessary motivator for everyone within the play- no one is quite able to grasp what/who they want or need. The yearning is an exquisite and inspiring agony.

A large picture frame hangs down stage. A large sheet of crushed brown paper hangs up stage- light gauze curtains reveal and conceal scenes. Though the opening image reminiscent of Armfield’s production of Marriage of Figaro (Mozart’s Opera 2008 and the Geoffrey Rush adaptation at The Playhouse in 2000) this production is handsomely designed by Andy McDonell. Lighting by Luiz Pampolha is sophisticated and elegant. There is much space given to the mise en scene- lighting a plethora of dinner candles- and snuffing them out- the destruction of Konstantin’s papers- the creation of the garden scene strewn with flowers and cushions… the decor arranged- it is worth the wait.

The Seagull is, largely a show for artists. It is about the struggles and sweet minor successes of the arts. A comment on satisfaction – a comment on ambition- fate/choice as the naieve Nina launches into the brave unknown her eyes ablaze with ambition and joy. With an accomplished cast including Zoe Carides (Irina) Matt Edgerton (Trigorin), Robert Alexander (Dorn) and Katherine Cullen (Masha), Genieve Mooy (Polina)- this is a show definitely worth the ticket price- the performances are generous, intelligent and take big risks- especially in atown (and theatre community) brimming with actors who have experienced a good practical dose of Chekhov at their respective drama schools… and all those who have a favourite/opinion on “how” Chekhov is to be “done.”

Gaul’s production is smartly constructed, impressive and taut. It is unsentimental- straight forward and clear- whilst maintaining its elegance and the charm of self-referential flattery.

The view from the 428- it's a sign

Anne-Maree Magi, Vanessa Bates, Noelle Janaczewska, Ned Manning, Donna Abela, Kate Gaul

Playwrights on the 428

Week 1 writers at FraserStudios

Where are the women?
Booking their tickets to the 2009 Philip Parsons Memorial Lecture.
Perhaps we should all wear white- as to show up against the black seats of the theatre incase there is any misconception that we are invisible.
We are visible.
We have vision.

Rachel Healy, Director Performing Arts at Sydney Opera House and former long-term General Manager at Company B Belvoir will deliver a short opening address giving an introduction to the debate. She will then join the panel of distinguished women including: theatre notes blogger and critic Alison Croggon; emerging director Shannon Murphy; Marion Potts, Associate Artistic Director at Bell Shakespeare and Gil Appleton who will provide an historical overview. The panel will share their perspectives, pathways, experiences and thoughts for the future. Moderated by ABC Journalist Monica Attard the discussion will then be opened to the floor for debate.

The recipient of the 2009 Philip Parsons Young Playwright’s Award will also be announced at this event. Awarded annually to a playwright under 35 years of age, whose work demonstrates an original and compelling theatrical voice, the winner will receive a writer’s commission supported by Company B Belvoir. The 2009 shortlisted writers are Tamara Asmar, Van Badham, Tahli Corin, Nick Coyle and Caleb Lewis.

And I of course will be there to check it out.

Nice to note that three of the five shortlisted writers are women. I wonder how the lads feel about the lecture topic?

I am a fan of Tamara Asmar (I spotted Belle’s Line last year at The Old Fitz and approached her for Brand Spanking New) and Tahli Corin (I reviewed Bumming with Jane for www.australianstage.com.au) and Caleb Lewis (of whom I am a huge fan and have also have reviewed and hope to work with somehow someday…) I have reviewed Nick Coyle’s work (Hammerhead is Dead which was at the stables earlier this year) and you’d have to be living under a rock in the middle of the Simpson Desert NOT to have heard of Van Badham- so its going to be a corker of a day!

Also interesting to note that Joanna Erskine is not on this panel- but then again- she has started the conversation and should have the right to sit back and enjoy the banter in real time/life not just as bloggosphere wildfire.

Others I hope to hear from-
Rachel MacDonald – director (who has established her career in Opera and mainstages and has balanced career with motherhood- 4 kids!)
Kate Gaul- Artistic Director of Siren Theatre Company (also the new curator at Sidetrack Theatre)
Hilary Bell- playwright and Griffin Theatre Board Member
Lee Lewis- the only female director working ont he 2010 season at Belvoir
Kate Revz- Cry Havoc director

and I’d love to hear from the true emerging sector- that is the unknown- the directors and writers who maybe haven’t been to drama school and who are working in the industry- the ones who are doing it really tough- I want to hear from them-
Felicity Nicol
Jane Grimley
AnneMaree Magi
Scarlet McGlynn
Danielle O’Keefe

This is everyone’s discussion and I hope to see you there on the 6th!

When: Sunday 6 December 2009
Where: Belvoir St Upstairs Theatre, 25 Belvoir St, Surry Hills 2010
Cost: $10 available from the Belvoir St Theatre Box Office
(02 9699 3444). Tickets also available on the door.