Thursday, August 17, 2017

Theatre: Sista Girl (★★★★)


By Elena Carapetis and Alexis West
Yirra Yaakin and State Theatre Company of South Australia
Directed by Kyle J Morrison
Designed by Miranda Hampton
Composer/sound design by Andrew Howard
Lighting design by Rick Worringham
Performed by Sharni McDermott and Nadia Rossi
Subiaco Theatre Centre
 
Sharni McDermott and Nadia Rossi (pic: Kate Pardey)
It’s hard to find something to criticise about Sista Girl, but I have; it’s not long enough, and it stops short of the rip-roaring, “Sistas are Doing It for Themselves” climax it was beautifully poised to deliver.
Not that it fails to make its point. Not that it fails to be a satisfying – more than satisfying – story of connection across ethnic, economic and emotional divides.
It’s morning. Georgie Morelli (Nadia Rossi) and Nakisha Grey (Sharni McDermott) are both caught in the same bloody awful Australia Day holiday traffic jam, and are both heading for a shit of a day.
And that, though they don’t know it at the time, isn’t all they’ve got in common.
Nakisha has an aboriginal mother and a white father; Georgie an Italian migrant mother and a white father. Nakisha is affluent (although an Aboriginal girl in a BMW gets hassled just the same), Georgie is skint, but she’s still having a good time bogan-watching on the bus.
Both of them get a call. Their dads have collapsed, and have been rushed to hospital. Before they arrive, the news is even worse. Their dads have died.
Alone together in the waiting room, the two girls make a shocking discovery – their dads are the same man.
It’s a delicious set-up, and the writers Elena Carapetis and Alexis West are marvellously sure-footed as they play it out. Naturally, the circumstances (one family abandoned, the other imperilled, the collision of white, migrant and indigenous ethnicities) are pregnant with issues current and deep-rooted. The play does canvass them, but without weighing it down.
What is really important is reconciliation of a ground-level, intensely personal kind, and that’s the journey Sista Girl takes Georgie, Nakisha and us on.
Rossi and McDermott are great company on the trip. Rossi is feisty and appealing, giving her embattled Georgie a terrific rough-diamond appeal, and McDermott deserves high praise for her success in a very tricky assignment. For Nakisha to work, she has to first lose our sympathy to gain it back, and McDermott does both in a performance of great quality.
Sista Girl is an efficient, no-nonsense play, from its tidy writing to Miranda Hampton’s merry-go-round set and Kyle J Morrison’s adept, unobtrusive direction. That in no way, however, diminishes its quality or importance.
And my complaint? Give those girls another 10 minutes and they could re-draw the contract their dad had mucked up, blown their potential partners away with a hot-shot presentation and both driven off in Beemers.
Laughing their heads off and singing “Girls Just Wanna Have Fun” no doubt.

Thursday, August 10, 2017

Theatre: 1984 (★★★)

The novel by George Orwell
Adapted and directed by Robert Icke and Duncan Macmillan
Associate Director (Australia) Corey McMahon
Designer Chloe Lamford
Lighting Designer Natasha Chivers
Sound Designer Tom Gibbons
Video Designer Tim Reid
With Molly Barwick, Paul Blackwell, Tom Conroy, Terence Crawford, Coco Jack Gillies, Ursula Mills, Renato Musolino, Guy O’Grady, Yalin Ozucelik, Fiona Press
His Majesty’s Theatre August 8, 2017

Those mavens of modern manners and mores, Leigh Sales and Annabel Crabb, have been trolling the swamps of dystopia on their Chat 10 Looks 3 podcast lately. Inevitably the conversation turned to the two current celebrities of that grim genre, The Handmaid’s Tale (SBS On Demand) and 1984 (Sydney Theatre Company at His Majesty’s Theatre).
As it turns out, I was eight episodes into the riveting trials and tribulations of Elizabeth Moss’s Offred, so tearing myself away to the theatre took some doing (a subject Sales and Crabb also ponder).
George Orwell’s 1984 occupies a signal place in our consciousness – or at least, that of my generation and education. Along with Orwell’s other portent, Animal Farm, Aldous Huxley’s Brave New World and William Golding’s Lord of the Flies, it lurked about our consciousness with its grim messages of the cold evil of the state and our powerlessness against it.
It’s also a chilling and memorable read. And it takes us where, perhaps, only books can go, into the heart and mind of its subject.
And that’s the problem with this staging of 1984.

Sunday, August 6, 2017

Theatre: Coma Land (★★★★)

Black Swan State Theatre Company and Performing Lines WA
Written and directed by Will O’Mahony
Set designer Patrick James Howe
Sound designer Rachael Dease
Lighting designer Chris Donnelly
Performed by Humphrey Bower, Kirsty Marillier, Amy Mathews, Morgan Owen and Ben Sutton

In Will O’Mahony’s carefully delineated and finely performed drama, coma is a place.
By logical necessity, it can only be “about” one character – a startling young girl named Boon (Kirsty Marillier) – but O’Mahony’s achievement in Coma Land is to people the strange place she is in with figments of her imagination that have their own stories, memories and ambitions.
There’s a chirpy girl of Boon’s age, Penguin (Morgan Owen), who is trying to fly according to Malcolm Gladwell’s tendentious 10,000 Hour Rule (practice something for 10,000 hours and you will become expert in it). There’s Penguin’s dad (Humphrey Bower) who might be working towards their escape but keeps a dark secret. There’s the chummy party planner Jinny (Amy Mathews) and a panda named Cola (Ben Sutton) who pretends to be a man.
This place, and these people, are treacherous dramatic territory, but O’Mahony (who also directs) has shown that he’s up to the challenge before, most notably in his 2013 indie hit Great White and in last year’s The Mars Project.
His great talent is controlled incongruity, and much of the humour – and there is plenty in Coma Land – springs from it. There’s no earthly reason why Cola would suddenly ask what our favourite font is (his, he says, is the obnoxious Comic Sans), but, then, there’s no reason why a panda would be in Boon’s coma. And so on.
Coma Land isn’t about all this, or coma, at all. It’s about success and failure, dependence and independence, families and their fault lines, and these themes weave around, and progress through, the metaphor of coma to a powerful conclusion.
For this to be an entertainment, though, or to work on any of its levels, you mast have performance of high quality, energy and control, and all five actors rise to the challenge.
Humphrey Bower is a master of the unlovely, and he conveys a kind of careworn peril that gives the play a taut thread throughout, while Mathews and Sutton expertly deliver much of its absurdity and comedy.
Owen is chirrupy and magnetic as Penguin (you’re allowed to be reminded of Jane Horrocks’s Bubble in Absolutely Fabulous, but smarter), and Marillier makes the play her own in a wise and feisty leading performance that leaves plenty of room for those around her to shine.
The show looks and sounds great; Patrick James Howe’s set of dark distances around a square riser of brown shag pile gives it both mystery and focus, as does Chris Donnelly’s exposed, meticulous lighting design. The remarkable Rachael Dease brings music of great simplicity and beauty to the play.
Coma Land is another milestone in O’Mahony’s steadily developing career, and another success in Black Swan’s impressive 2017 season.

This review appeared in The West Australian 25.7.17