A small note.

I attended “A New Brain” at Sidetrack Theatre in between the two performances of the show I had been working on. I must admit that when I am making – I’m not reviewing as much – so this was one of the few outings into another world.

Sidetrack is my local.

But I rarely get asked to shows there – this is especially since it was taken over by New Musicals Australia… I think… or perhaps they have moved on? Anyway – I haven’t been to Sidetrack for ages. I love the venue for it’s community feel – Its Sunday markets – its humbling flightpath – its scarey toilets. It’s a crazy venue to work in though – the lighting desk is known for it’s ancient and fickle over-heating.

Anyway, how could I refuse an offer from one of the cast (my dear friend Shondelle Pratt) to attend?

It takes me a good while to swallow and digest the American-ness of the show. Yes. Twangy Yank accents and Jewish-American cultural references spill out of Australian mouths. I sit stunned. Choking on the sounds. I have to admit – that amount of large/loud American voices vibrating at me makes me cringe. Literally not just culturally.

But I’m there to watch.

A collection of artists REALLY wanted to put this on – they have sunk a whole stack of cash into this show – marketing, costumes, props, rehearsal venues- it would have cost a small fortune even on a shoe-string budget. A whole collection of artists wanted the audience in Sydney to see this show. I must sit and find out why.

The assumption is I don’t like musicals. Not true. In fact some but not many know I was once quite the musical theatre performer – but like most catholics and gym memberships – I have lapsed. I don’t work on or in them.

The heart of this play is a good one – there’s even a song which claims “you gotta have heart and music…” and I agree. And the heroes of the story (who happen to be gay) do discover that love conquers all – even a near fatal brain operation! And of course we are never alone – and things work out for the best – and all the messages that soothe and calm.

The production itself was slick – slicker than the venue. Great costumes. Great casting. And bright bold performances. And I have to say I adore Shondelle on stage as much as I do off – there is a cheeky sweetness to her. And a sassy, sexiness – which is also beautifully balance with coy generosity.

And I was turning my reaction to the American-ness in my head.

And then I got it.

I know why Australians love American stuff so much – because they can absolutely ham it up – be brassy and brave and bold and unrelenting and high energy. Americans by their nature seem to be energetic go-getters, perhaps a side effect of the myth of meritocracy? Australians in comparison are a little more low key – or relaxed. I reckon.

Anyway, it then got me thinking about the PWA showcase of new Australian musicals at the National Play Festival at the Beginning of the year – the musicals were about mate-ship and Gallipoli and gum leaves. And I started thinking about the Australian voice and what it means to hear our own accent reflected back to us.

Anyway – this isn’t a review – its a confession or a reflection or a reaction – for a review, check out Syke on Crikey: http://blogs.crikey.com.au/curtaincall/2011/11/14/review-a-new-brain-sidetrack-theatre-sydney/

Remounting a show is a huge gamble- the hope that people who missed it last time are in town and can see it, the hope that those who saw the original show feel such a fondness for the show they want to see a replay (like that much loved VHS tape from my childhood) or are curious to see how it has changed. It’s a gamble that the writers, the directors and actors want to see it again, want to work on it again- want to plunge their foot in the same river twice… and the risk feels huge.

Luckily for Stories from the 428, a collection of the writers, directors and actors were available, keen and generous enough to lend their time and talent- and with the help of Leslie, Naomi, Guy and Kendall at ACTT the rehearsals were sorted out- and before long everyone was back ready to jump on board and into the Fringe Festival.

But of course there are a few changes- the two weeks have been combined and refined, some of the original cast are overseas, in other shows and so there is an ensemble cast- largely made up of the original with a few fresh faces thrown in.
Some scenes have been completely re-directed- others reinstated- but the selection is fun, festive, bright and I am utterly proud of all involved:it’s an honour to work with these writers, directors and artists.

After a nail-biting preceding week, 3 hours in which to tech and dress the show with a cast of 17, 11 writers, 5 directors and a crew of 2- the opening of (Selected) Stories From the 428 last Saturday was amazing. The audience full, the laughter loud, the applause generous… Three more shows to go (this weekend) before the show is put to bed.

The dates and times:
Saturday 18th Sept 5pm
Sunday 19th Sept 2pm*
Sunday 19th Sept 8pm

*please note this performance will not include “Baby Doll”

Bookings:
$24/$20 + Booking Fee
http://thesydneyfringe.com.au/shows/stories-428
http://sa2.seatadvisor.com/sabo/servlets/TicketRequest?eventId=100201510&presenter=AUCENTURY&venue=&event=FR428
02 9550 3666

I look forward to seeing you there!

(Selected) Stories From the 428
Bethlehem
Written by Kit Brookman, directed by Augusta Supple
Performed by Jan Langford-Penny

Story 2
Written by Lexi Freiman, directed by Scott Selkirk
Performed by Lucy Goleby, Luke Carson, Lib Campbell, Daniel Fischer

You Are Here #1
Written by Alison Rooke, Directed by Zoe Carides
Performed by Bridgette Sneddon and Felix Gentle

She
Written by Matt Edgerton, directed by Louise Fischer
Performed by Daniel Nemes and Kailah Cabanas

Playlist
Written by Sime Knezevic, directed by Glenn Hazeldine
Performed by Stephen Peacocke

Baby Doll
Written by Joanna Erskine, directed by Ngaire O’Leary
Performed by Maggie Blinco and Alan Faulkner

Oliver Twist Is…
Written by Donna Abela, directed by Scott Selkirk
Performed by Melissa Hume, Daniel Nemes, Luke Carson, Lucy Goleby, Daniel Fischer, Lib Campbell

Clean Skin
Written by Matt Edgerton, directed by Louise Fischer
Performed by Matt Charleston

It was raining all afternoon…
Written by Kit Brookman, directed by Augusta Supple
Performed by Lucy Goleby and Stephen Peacocke

An Advertiser’s Dream
Written by Brooke Robinson, directed by Augusta Supple
Performed by Kailah Cabanas and Julian Ramundi

Mastadon Special
Written by Patrick Lenton, directed by Ngaire O’Leary
Performed by Matt Charleston, Jan Langford-Penny, Lucy Goleby, Lib Campbell

You Are Here #2
Written by Alison Rooke, Directed by Zoe Carides
Performed by Bridgette Sneddon, Felix Gentle, Julian Ramundi and Helena Stamoulis

No Rides Left
Written by Jasper Marlow, directed by Louise Fischer
Performed by Lib Campbell, Luke Carson and Matt Charleston

The 428 Song
Lyrics by Tahli Corin, music by Rosie Chase, directed by Augusta Supple
Performed by Luke Carson, Julian Ramundi and Toby Villis

I have been receiving text messages, emails and in casual conversations I have been asked repeatedly, “So… the Sydney Fringe… there’s just so much on… I don’t know where to begin… what should I see?”

So in response to them, I say “Well there’s plenty to see- just don’t panic! Don’t panic! Stop trembling! Put down that chocolate bar- you’ll be OK! Just make sure you catch something at the inaugural Sydney Fringe!!!” And so I thought I would write a little post to let you know what I am keen on seeing, and what I know about… and what I’ve been working on… it’s been a busy couple of months! There’s a mix of stuff in here- yep, even a visual arts show! And that’s what festivals about- sampling a little bit of everything…

Visual Arts:

TIM ANDREW – WHERE’S MY PRIVATE JET?
September 9th-26th
Opening Thursday 9th 6-8pm.
ESP GALLERY 228 Illawarra Rd Marrickville NSW 2044.

There’s lots to like about Tim Andrew. And I’m not the only one who reckons his paintings are great… within the last month he was been a finalist in both the Marrickville Council’s Contemporary Art Prize and the Mosman Art Prize… so you don’t have to take my word for it. But let it be known, I am an unashamed fan. His work is bright and brutal and demands you look at it. Self conscious, utterly self-aware, awkward, yet brave and therefore loveable his work is fun, accessible and beautifully presented. One thing is for certain about Tim Andrew – his work is never, ever pedestrian.
“While dealing with the heavier, pessimistic anxieties and abjection about living and surviving in the world, I hope my work delights the viewer with bright, humorous, graphic themes and persistently entertaining titles.”
http://www.timandrewart.com/

And now for Theatre:

STORIES FROM THE 428
September 11th @8pm , 12th @8pm, 18th @5pm, 19th @2pm & @8pm
Sidetrack Theatre, 142 Addison Road, Marrickville
$24/$20 + Booking Fee

After a sold out season at Sidetrack Theatre earlier this year, Stories from the 428 returns for a very special season as a part of Sydney’s inaugural Sydney Fringe Festival. Inspired by the 428 bus route (from Circular Quay to Canterbury) a group of award winning and emerging playwrights have written a series of stories which will make you laugh, cringe, cry or even fall in love… best thing of all- the 428 stops right outside the theatre!
http://centurylive.com.au/default.aspx?Interface=3&Fshcode=68384AAD-DFC4-4F22-ACFE-46BCA3F6378B

THE HIDEOUS DEMISE OF DETECTIVE JERICHO SLATE
September 14th @ 8pm, 19th @ 5pm, 22nd @ 8pm, 23rd @ 9.30pm, 25th @ 9.30pm
The Boiler Room at the Factory Theatre, Marrickville
$20 / $16 + Booking Fee

A piece of film noir parody live radio theatre; Imagine a 1940’s hardboiled detective radio serial traveled through time, but on the way it got mixed up with that nuclear waste that made the ninja turtles, and grew legs, a fish fetish and an incredible amount of convoluted similes and threw itself on the stage. ‘With cream yourself funky live music and a stand out cast, this is a radio play like you’ve never seen before – sexy and hilarious.’ – Raymond Chandler
http://centurylive.com.au/default.aspx?Interface=3&Fshcode=9138AF2D-4C96-4A72-A183-B308294D9285

SEXY TALES OF PALEONTOLOGY
September 16th @ 8pm, 17th @ 6.30pm, 18th @ 9.30pm, 19th @ 6.30pm, 24th @ 8pm
The Boiler Room at the Factory Theatre, Marrickville
$20 / $16 + Booking Fee

Sexy Tales of Paleontology has everything you could possibly want: science, evil corporations and a lumberjack! When a group of scientists are taken over by an un-self-consciously evil corporation, a clash of ethics and robots ensue. Expect hysterical geologists in pit fights with paleontologists, flamboyant glam-pop mercenaries breaking out in song and the world’s worst narrator.
http://centurylive.com.au/default.aspx?Interface=3&Fshcode=DA4433E8-45D0-4F27-80C2-F5A9ADF05F18

COMBAT FATIGUE
September 13th @ 8pm, 17th @ 9.30pm, 18th @ 1.00pm, 22nd @ 9.30pm, 23rd @ 8pm
The Boiler Room at the Factory Theatre, Marrickville
$20 / $16 + Booking Fee

Come down, come down to the strawberry patch…A dark incantation, a letter that shouldn’t be read, a blood sacrifice. A golden couple in a toxic city on Valentine’s Day. A husband, an artist, a girl, a murderer with a poet’s heart. A battle for possession of a woman’s soul.
http://centurylive.com.au/default.aspx?Interface=3&Fshcode=34C508B0-F868-4723-9176-2595DD599F37

ZETLAND
September 14th @8pm, 15th @8pm, 17th @ 8pm, 18th @ 8pm, 19th @ 5pm
Sidetrack Theatre, Marrickville
$24/$20 +Booking Fee

Ross, 21, is leaving for the army tomorrow. He has returned home from a failed adventure in Queensland, hell-bent on confronting his older brother about their broken family. Josh (Ross’s Brother) 26, is making a clean break with a career in a call centre and a new pair of skinny-leg jeans determined to cut his losses. Kez, 25, has moved into the brothers family home claiming the throne of facetious installation artist, trying to keep the spirit of art-school activism alive when everyone around him is trying to grow up. Zetland is a play about three young men trying to live together, amid a swamp of poverty, avoidance and failed dreams. It’s a dark comedy that smacks of truth, an intimate experience of how men communicate, how they avoid conflict and how they deal with failure.
http://centurylive.com.au/default.aspx?Interface=3&Fshcode=B3F91B5C-3D50-46F2-AF7C-581166890B8B

THE CAULIFLOWER HOMICIDE: A LOVE STORY
September 11th @ 7:30pm, 17th @ 7:30pm, 18th @ 2:30pm, 19th @ 5pm
Petersham Town Hall, Crystal Street , Petersham

A new supermarket opens and the cauliflower mascot is murdered; it’s not just a case of who did it, but who was in the suit. The story follows four lonely, financially challenged individuals leading up to that fateful day – all of whom are vying for the esteemed cauliflower position. Along the way, relationships are tested and a vulnerable search for love and a sense of place in the world is illuminated.
http://centurylive.com.au/default.aspx?Interface=3&Fshcode=096152D3-74CE-446B-BCC8-C75E325D5289

SONGS FROM THE MUSICALS THAT NEVER WERE
September 12th @ 8pm, 15th @ 9.30pm, 16th @ 9.30pm, 18th @ 1pm, 19th @ 5pm
Fusebox, Factory Theatre Marrickville
$24/ $20 + Booking Fee

A fabulous night of music and comedy! See the shows that never were but should have been! “Underbelly: The Musical!” “Noah! Arc of Triumph!” on stage before your very eyes! Thrill to “Batman the Opera.” In German! (Der Fleidermausse Mench!)
Plus many more in a cavalcade of singing, dancing and fast paced comedy! Music by local musical comedy genius Benny Davis (6 million You Tube hits with Axis of Awesome!) Lyrics by Trevor Johnson (writer for TV’s D Generation plus much more!) Mary Sherman, Ray Chong Nee and Brendon Taylor bring to life Songs From the Musicals That Never Were!
http://centurylive.com.au/default.aspx?Interface=3&Fshcode=84435C3D-7E19-4F36-AD0F-2BB856943D82

Or if you don’t want to complicate things you could pick a venue and just see everything that is on at that venue, I recommend:

SIDETRACK THEATRE
142 Addison Road, Marrickville
http://www.sidetrack.com.au/
Breathe a Little and Call It Life, Landing, Stories From the 428, Violent Delights, Zetland

THE BOILER ROOM
Factory Theatre, Marrickville
http://fringeattheboilerroom.com/
Combat Fatigue, Sexy Tales of Paleontology, Hideous Demise of Detective Jericho Slate, Cuckoo, Starry Comet Night, A Thing Of Beauty

Fresh out of Drama school, fresh in Sydney. Bright eyed and bushy tailed- four directors (Fiona Hallenan-Barker, Justine Campbell, Marcel Dorney and Travis Green) embark on a Directing Collaborative, pool resources and vision for the challenge of producing Howard Barker’s The Possibilities at the freshly revived Sidetrack Theatre.

Ten vignettes- or scenes on the theme of war, terror, tyranny, politics in all its manifestations are played by an ensemble of predominantly Sydney-based actors (Jacinta Acevski, Jonathan Brand, Ray Chong Nee, Errol Henderson, Sophie Kelly, Brynn Loosemore, Gabrielle Swathorne, Jane E Seymour). The Possibilities (written in 1986) is a study of human behaviour in extreme circumstances that begs the question “what would you do? How would you react? Under what pressure would you defy morality? How steadfast are you in who you are and what you know of yourself?” They are interesting questions and it is easy to see why so many are fascinated by and enjoy being challenged by these questions.

Charmingly, the foyer of Sidetrack is decked out as a house of yesteryear by the designers billed in the press release as “two of Melbourne’s youngest and most brilliant” designers, Chloe Greaves and David Samuel. Lace curtains, vinyl records, tea sets and a comfy armchair and a plate of iced vo-vos add to the charm. (Of course I’m not sure post-opening if the lamingtons will still be on display…)

Upon entering the space, an opaque plastic curtain hangs a few metres forward of the back wall. Meat hooks on chains gleam as they hang from the ceiling. It’s a beautiful set. Not what I expected from my experience of the foyer. There is a slickness about the design- the costumes are beautifully made and the set is other worldly- nearly futuristic and unsettling- it feels far from the “home” of the foyer. And that idea is really fascinating… a heightened sense of home and comfort contrasted with a sci-fi/post apocalyptic world. There is no doubt about it- the production values are high- this is a slickly produced piece of theatre.

At moments throughout the performance, a bright light shines into the audience’s eyes- and the actors stop and look up… for a while I didn’t get it- as they didn’t always seem to lead anywhere. And then I realised. It was a directorial choice to acknowledge the air-traffic over the theatre by amplifying and drawing attention to it. For me, this was really distracting and somewhat baffling. Those that know Marrickville, who know Sidetrack, understand and general ignore the air traffic… this generally slowed down the pace of the scenes and interrupted my train of thought- I soon became fatigued and irritated by light being shone into my eyes… the production got sacrificed for a gag.

The scenarios are numerous, the premise of each very engaging, though, unfortunately this production of The Possibilities is missing something or maybe I missed something. I felt largely like I was watching a drama school showcase- where the choice of play was about showing skills- or showcasing – not necessarily connecting. I search the media release and the programme. The directors notes are written using the metaphor of cooking- which baffles me. What has cooking got to do with morality? I was hoping for some clue into how the directors worked together, why they selected the play for us… I looked for the reason why these directors had banded together- what is it about each others work that inspires them.

For those who saw Theatre Forward’s (NIDA’s Directing Graduates who graduated in 2008) similar project last year “The Sneeze” – you may find it an interesting comparison and contrast to this, the VCA graduates collective for The Possibilities. The Sneeze showed each director’s style and sensibility – there was a sense of “equal but different” and each director chose a piece from Chekov and presented it with their spin/style. By contrast, I’m not sure who directed what- who’s style I was looking at- who’s vision this is. Theatre Forward have a sense of “Theatre of Catatstrphy” about it too the “agree to disagree- a a right not to like each other’s work”- but not in an alienating way. I’m not really sure what to make of this collective – if this is an ongoing collective or collaboration, what the aims or manifesto is… who is it for and wht it aims to achieve. Is this an experiment? Or is this the directors bringing the mountain to the prophet (IE VCA Melbourne talent to the Sydney Industry).

Strangely I also felt the style of presentation was very alienating- I feel a strange lacking of compassion or empathy for anyone- any of the characters- I was supremely distracted by the form and the style and so much so I lost the humanity altogether. I found it difficult to follow the stories as the characters seemed humourless- again the media release warns me of Barker’s caustic wit. I found the writing to be glib and at times dull. Was this Barker’s point? Or was this the doing of the directors? I’m not sure.

I guess I didn’t get it. (was that the aim?) I didn’t connect to the work. (Was I meant to?) I guess I am philosophically naieve or ill-suited to this type of theatre. It’s probably my failure to understand. After all I am no scholar on Barker and my thesis was not on The Catastrohic theatre. I’m pretty simple, I guess, I come from a belief that theatre is about offering a thought, message, idea, experience to an audience. I believe that making theatre is an act of generosity. I don’t agree with the aloof and nihilistic viewpoint that “there is no message.” I believe that there is always a message- even if that message is one of nihilism. For me to be moved, transformed, enlightened, or even engaged I look for theatre that has a heart… that is more than an intellectual exercise… and I guess because of that, I generally felt shut out from this production. There were two glimpses where I felt I was let into the world of Barker and the directors collective- where I felt the tragedy- or I feared for the future- and they were scenes connected with Ray Chong Nee- the book seller and as God- which I found really engaging and compelling… other than that, I felt like there was alot of stuff going on- and I didn’t really understand. So I must honestly declare, I didn’t get it.

A small, brittle paged copy of Under Milk Wood, sits in my book case. A faded blue/green photograph of a town by the sea on the cover- and on the back, a price tag (from a long time ago) says “$1.60.” The pages are yellow – especially around the edges, like an old man’s white moustache stained with nicotine. As a child, I remember my father, in a brown velvet chair, musing on the sound of Richard Burton’s voice on a Sunday afternoon. Later, in my first year of University, I purchased a sturdy, (second hand) hard cover copy from Gleebooks, and sent it home for fathers day…

Fifty-six years since it was written, the text remains in the collective consciousness. Dylan Thomas’ classic play for voices lifts poetry out of the private ruminations of head bowed, eyes down soft murmers or the dutiful literature students- and is propelled on stage by collaborators Vanessa Vanessa Hughes and Zoe Norton Lodge in a new production at Sidetrack Theatre.

At the box office we are told that we can keep our jackets on- and on the seats of sidetrack Theatre, folded fleecy rugs, are staggered one between two, one between three…

The white floor, scattered with tiny white houses are lit up in a warm yellow glow. Lace tablecloths hang from a clothesline, three small boats hang from the ceiling, a ladder, a bathtub, a chair. It’s the opposite of the usual black space- luminous. Clean. Like freshly starched shirts. A voice starts from the shaddows, light like that of a ghost- “To begin at the beginning- ”

Harnessing all 64 characters- an unassuming actor in white overalls – Zoe Norton Lodge. A full- steam- ahead, at times thunderous voice, that melts sweetly and then bellows in the following breath. Surrounded by huge projections, occasional video, cardboard installations Norton Lodge has a world set up- at times she is the all seeing, all hearing, all speaking first voice- a giant amongst the tiny houses and at others she is the townsfolk heavy with secret yearnings and lusty urges. Suddenly the town has voice- multi-coloured voices in shimmering varied timbres ring out of Norton Lodge’s mouth like bells from the church lead by The Rev. Eli Jenkins.

There is much to commend in this production- and I can’t help but acknowledge the resonances I have with the text- which seems to be a resonance that Norton Lodge also shares- a connection with her father. I believe it is essential for all artists to invest in the stories that they believe in- wholly and completely- stories that make them the people they are, the artists they are. And so often I see work which is mounted which seems to be devoid of any personal connection- shows mounted because of their status as the hot playwright of International status- of a play which comes with it a hand full of star-studs to put on the poster. This is a play which means something to the artists- and it’s not showing off- that shows bravery- to reveal something of yourself- something as intimate as your childhood bedtime story.

There is also the fascinating aspect that this is a play written by a man, traditionally spoken by a man- and in this one woman version- we see or hear something new… a woman’s perspective. Whilst the men of the town are ghosts, a Reverend, blind, lost, obsessive organists- the women are filled with great yearning- an earthy, deep, grounded lust. Not wildly hysterical- but sexy. Thumbnail sketches of lives- that do as lives should- live. Complicated, horrifically beautiful, sweet songs sung by children as the drink-soaked confessions seep out of reluctant hearts.

At times the pace is somewhat overly rapid, aggressively attacked- and the finer, silken threads of poetry are sacrificed- leaving me a little lost amongst the sea of characters. But ,the sheer impressiveness of the stamina, and focus of sustaining 90 minutes of 64 characters is worth the ticket price. Some may feel that the production is fairly safe- it is a fairly truthful and respectful telling of the tale. Delivered in Welsh accent- neatly physicalized. There are no shocks, this adaptation is not trying to shock or disturb- though the text ht right at the heart of the conflict between the public and the private confessions of a town- where no one is unscathed from being exposed as a coward, a drunk, a thief, a banshee, a whore, a repulsive lover.

This is a lyrical and visually poetic adaptation- a love letter to family- to the memory of being read to, a love letter to a feel of “home.” If nothing else- there is something comforting about being nestled in a fleece rug- phone off- lights dimmed- having the play recited to you. There is a feeling of tender offering from Hughes and Norton Lodge- a little piece of story- delivered with care and caution to those willing to take the time to listen.

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.

Stories from the 428 launched last night- with the help from our friends at the Coopers Hotel in Newtown, Marrickville Council, ACTT and Queen Street Studio- writers, directors, designers, crew came together to have a few drinks, to meet the people who they will be working with in the next 3-4 weeks. This launch was for the participants… United by a love of theatre, new Australian Playwriting and buses- nearly 100 local artists are starting rehearsals this week.

Combining the a mix of writers from a range of backgrounds this is theatre at its most diverse- a patchwork of ideas that are stitched together through the common experience of the 428 Bus ride from Circular Quay to Canterbury.

What never ceases to amaze me is the passion people have within them – to make theatre- to make anything where before there was nothing. It is truly breathtaking.

People from different backgrounds and different levels of experience coming together to say something they believe in…

People who wouldn’t ordinarilly cross paths, meet each other in the context of this type of project- share ideas, contribute, support and inspire each other.

But one thing is for certain- without an audience these stories are mute, these ideas lay dormant. It is the everyday and the ordinary which inspires us to come together and share our Stories.

All this will come together in 3 weeks at Sidetrack Theatre. Tickets are $25… hope to see you at the show!
http://sa2.seatadvisor.com/sabo/servlets/EventSearch?presenter=AUCENTURY&event=428STORY

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