Performed by the Second Echo Ensemble
Tasmanian Theatre Company and Cosmos
Thursday May 20, Friday May 21, Saturday May 22
Peacock Theatre
by Stephenie Cahalan
Eleven actors on stage and many more on a screen, minimalist lighting, movement, soliloquies on love, nervousness, wanting to look and be our best. The need for approval. The need for love.
This is essentially what The Company I Keep explores, and does so artfully and engagingly. The story stands alone and would work for any cast, be they professionals or amateurs, from any background. This cast happens to include five people who might be considered intellectually disabled, yet are clearly emotionally intelligent performers and highly competent actors. Creator and director Finegan Krukemeyer has made a piece of theatre that makes the stage a level playing field for every person that occupies it; a liberating experience for performer and audience alike.
WriteResponse; An arts reviewing site with a collection of Tasmanian writers contributing and reflecting on creative endeavour.
Showing posts with label Musical Theatre. Show all posts
Showing posts with label Musical Theatre. Show all posts
Thursday, May 20, 2010
Friday, February 12, 2010
The Perfect Circle
Preview: Studio Theatre, Mount Nelson
10 February 2010
by Janet Upcher
What is it that humans yearn for? What drives us on and what completes us?
This innovative musical drama, a thought-provoking series of interwoven narratives linked by the music and lyrics of Craig M. Wood and Nicholas King, suggests we’re all involved in a constant quest for the perfect relationship and a sense of eternity. Love seems a circular, often frustrating dance where misunderstandings and rejections occur and time mocks us with our own transience and separateness.
10 February 2010
by Janet Upcher
What is it that humans yearn for? What drives us on and what completes us?
This innovative musical drama, a thought-provoking series of interwoven narratives linked by the music and lyrics of Craig M. Wood and Nicholas King, suggests we’re all involved in a constant quest for the perfect relationship and a sense of eternity. Love seems a circular, often frustrating dance where misunderstandings and rejections occur and time mocks us with our own transience and separateness.
Thursday, December 17, 2009
POWER HIP HOP
By Gai Anderson
Rhythmn plus poetry equals RAP…
Take a group of young Hobart Rap musicians, mix them together with two fine composer/mentors over a year of development, to compose, orchestrate and score tmusic for a 12 piece TSO orchestra, and what you get is POWER HIP HOP -
A stunning life-filled, live performance that packed out the Peacock Theatre last Friday and Saturday nights.
Totally transfixing right from the start, these exciting new voices cut across genre, race, class, tradition and stereotype to perform up stage-front of the tuxedoed and be-pearled TSO, all in their best Rapper baggy jeans and T-shirts.
The music was beautiful, powerful, rythmic, never faltering, and as I sat there tapping my feet and listening in awe at the eloquence, focus and energy of these young performers, I wondered if I had ever really listened to the lyrics of Rap music before - Is it always so personal, political and heart felt?
And if the words were a treat, the orchestration, which ranged from subtle to scintillating , took the music to a whole other realm. Layer apon layer of strings, brass, wind and percussion combined to build on the simple rhythmns of the Rap to become filmic in intensity, and never distracting or detracting from the wired young stars so focussed up front.
The themes and styles of performance were as varied and fascinating as each individual, coming from a great diversity of racial and social backgrounds and traditions.
The Sudanese/Ethiopian/Kenyan performances were visually stunning and celebratory in feel whilst strongly based in the rhythmns of their dance moves. From the words of Guyot Guyot and Makueis Makue -“We dance our tradition till we see a dust storm. “ - to Lawrence Ginos and Steve Letikos’ -“ You and I stand up together “, their lyrics clearly expressed the need for freedom, tradition and respect.
In contrast, there was a definite angst-driven edge to the minor keyed songs of the Caucasians in the group, which were darker and defiant. But the subtlety of rhyme and placement of words within the bed of the music was often breathtaking and always inspired. From Lonergans “You rock the boat then the boat rocks back. “- to Burgess’ “ I despise those who discourage critical thought.” and Bladels’ “How can you ignore the globe going extinct?” - their messages were strong and clear and performances brooding and exciting.
Overall it’s a shame there weren’t more young women onstage but Yai Mario-Ring and Nyaandeng Guot, as the all dancing and singing assistants as part of Guyot and Makues’ Young Survivors, were spectacular exceptions.
POWER HIP HOP is the long nurtured and well-honed baby of Jami Bladel and Kickstart Arts. It is the fifth part of a six- year series of arts projects working with young people in southern Tasmania, which so far has including theatre, film and multi media. Kickstart Arts are a ground breaking Hobart-based Performing Arts Company who specialize in Community Cultural Development. They create transformative and empowering arts projects with integrity, which are socially inclusive and nurturing, celebrating difference whilst creating connections and opportunities for all participants.
Kickstart Arts as well as mentor/composers Don Bate and Simon Reid should be loudly clapped and cheered for spring boarding these new young talents into the world of professional music with a project such as this, but also for giving audiences such a great and inspiring night of entertainment. With only 3 performances I felt really privileged to see this show, so give us some more, soon, please!
Gai Anderson is a Cygnet based writer and performer.
Rhythmn plus poetry equals RAP…
Take a group of young Hobart Rap musicians, mix them together with two fine composer/mentors over a year of development, to compose, orchestrate and score tmusic for a 12 piece TSO orchestra, and what you get is POWER HIP HOP -
A stunning life-filled, live performance that packed out the Peacock Theatre last Friday and Saturday nights.
Totally transfixing right from the start, these exciting new voices cut across genre, race, class, tradition and stereotype to perform up stage-front of the tuxedoed and be-pearled TSO, all in their best Rapper baggy jeans and T-shirts.
The music was beautiful, powerful, rythmic, never faltering, and as I sat there tapping my feet and listening in awe at the eloquence, focus and energy of these young performers, I wondered if I had ever really listened to the lyrics of Rap music before - Is it always so personal, political and heart felt?
And if the words were a treat, the orchestration, which ranged from subtle to scintillating , took the music to a whole other realm. Layer apon layer of strings, brass, wind and percussion combined to build on the simple rhythmns of the Rap to become filmic in intensity, and never distracting or detracting from the wired young stars so focussed up front.
The themes and styles of performance were as varied and fascinating as each individual, coming from a great diversity of racial and social backgrounds and traditions.
The Sudanese/Ethiopian/Kenyan performances were visually stunning and celebratory in feel whilst strongly based in the rhythmns of their dance moves. From the words of Guyot Guyot and Makueis Makue -“We dance our tradition till we see a dust storm. “ - to Lawrence Ginos and Steve Letikos’ -“ You and I stand up together “, their lyrics clearly expressed the need for freedom, tradition and respect.
In contrast, there was a definite angst-driven edge to the minor keyed songs of the Caucasians in the group, which were darker and defiant. But the subtlety of rhyme and placement of words within the bed of the music was often breathtaking and always inspired. From Lonergans “You rock the boat then the boat rocks back. “- to Burgess’ “ I despise those who discourage critical thought.” and Bladels’ “How can you ignore the globe going extinct?” - their messages were strong and clear and performances brooding and exciting.
Overall it’s a shame there weren’t more young women onstage but Yai Mario-Ring and Nyaandeng Guot, as the all dancing and singing assistants as part of Guyot and Makues’ Young Survivors, were spectacular exceptions.
POWER HIP HOP is the long nurtured and well-honed baby of Jami Bladel and Kickstart Arts. It is the fifth part of a six- year series of arts projects working with young people in southern Tasmania, which so far has including theatre, film and multi media. Kickstart Arts are a ground breaking Hobart-based Performing Arts Company who specialize in Community Cultural Development. They create transformative and empowering arts projects with integrity, which are socially inclusive and nurturing, celebrating difference whilst creating connections and opportunities for all participants.
Kickstart Arts as well as mentor/composers Don Bate and Simon Reid should be loudly clapped and cheered for spring boarding these new young talents into the world of professional music with a project such as this, but also for giving audiences such a great and inspiring night of entertainment. With only 3 performances I felt really privileged to see this show, so give us some more, soon, please!
Gai Anderson is a Cygnet based writer and performer.
Friday, October 9, 2009
Miss Saigon
by Alain Boublil and Claude-Michel Schönberg; dir. Robert Jarman
Craig Wellington Productions and the Tasmanian Theatre Unit Trust
Theatre Royal, Hobart, Thursday October 8th (opening night)
Anica Boulanger-Mashberg
There’s been an awful lot of talk lately, around the town, about a helicopter.
And fair enough, too. How could the Tasmanian Theatre Unit Trust possibly follow up on the smash hit that was their inaugural production, Les Misérables, just over a year ago? Clearly, the only answer was to find a show with even more spectacular staging requirements. And it’s hard to go past helicopter-in-relatively-small-theatre when it comes to “spectacle”.
So, Miss Saigon it is.
My advice is not to get too focussed on the helicopter. I’m not saying it isn’t impressive. It is impressive (Broadway-gimmickyness notwithstanding). But, you see, if you spend too much time thinking about the helicopter, you may ignore much more important elements: primarily, the emotional and energetic commitment – both from principles and ensemble – which are matched with musical proficiency and confidence in this young cast.
Under the firm hand of Robert Jarman (ably augmented by Aaron Powell’s musical direction, Mandy Lowrie’s choreography, and indeed the rest of the production team’s contributions), this Miss Saigon is bold, decisive, and powerful.
Alain Boublil and Claude-Michel Schönberg’s musical doesn’t give us much time to settle in. From curtain up we’re thrust into the love story of American GI Chris and new Vietnamese prostitute Kim, and also into a narrative of the Vietnam war: a story which assumes its audience already has a strong cultural back-story and understanding. Jarman and his company never lose this pace throughout, as event after event tumble out in song, and every single moment is deliberate. There’s no room for feebleness here: even the love story seems fuelled by a youthful, hot fury and political frustration.
Both cast and orchestra are equal to the challenge of this sweeping work, although they were sometimes let down by the insistent amplification which tended to impair diction. Amplification seems a necessary evil, to achieve balance with such a strong instrumental contribution. And yet this theatre is so intimate, and most of these performers so competent and capable of projection -- evidenced by the occasional moments when the technology failed them!
The show is notoriously awkward to cast, with its Asian setting. Largely, Jarman’s casting ignores racial demarcation (the only realistic option within Hobart’s limited bank of performers). This is just one of those things we have to agree to suspend disbelief about. But it’s such an important component of this narrative that I found myself constantly philosophising on the restrictions physicality poses on casting. Sometimes it was downright confusing, such as distinguishing whether characters were American or Vietnamese. But that’s an unwinnable battle this time.
Tess Hansen (Kim) works hard at the centre of the cast, and is supported strongly by Scott Farrow’s smooth performance as Chris, as well as by the other principles and a consistently tight and robust ensemble. Andrew Hickman warmed into his role as a rather Thénardier-ish Engineer; and Craig Wood is strong (sometimes a little too strong) as Thuy, the husband Kim’s father had intended for her. All the principles could do with a little refining, such as in their emotional transitions, but this is bound to come with the season. If the opening night audience is anything to go by, reception will be wildly appreciative. Don’t leave it til the last minute if you’re planning to go; I don’t imagine Miss Saigon will have any trouble selling out.
Craig Wellington Productions and the Tasmanian Theatre Unit Trust
Theatre Royal, Hobart, Thursday October 8th (opening night)
Anica Boulanger-Mashberg
There’s been an awful lot of talk lately, around the town, about a helicopter.
And fair enough, too. How could the Tasmanian Theatre Unit Trust possibly follow up on the smash hit that was their inaugural production, Les Misérables, just over a year ago? Clearly, the only answer was to find a show with even more spectacular staging requirements. And it’s hard to go past helicopter-in-relatively-small-theatre when it comes to “spectacle”.
So, Miss Saigon it is.
My advice is not to get too focussed on the helicopter. I’m not saying it isn’t impressive. It is impressive (Broadway-gimmickyness notwithstanding). But, you see, if you spend too much time thinking about the helicopter, you may ignore much more important elements: primarily, the emotional and energetic commitment – both from principles and ensemble – which are matched with musical proficiency and confidence in this young cast.
Under the firm hand of Robert Jarman (ably augmented by Aaron Powell’s musical direction, Mandy Lowrie’s choreography, and indeed the rest of the production team’s contributions), this Miss Saigon is bold, decisive, and powerful.
Alain Boublil and Claude-Michel Schönberg’s musical doesn’t give us much time to settle in. From curtain up we’re thrust into the love story of American GI Chris and new Vietnamese prostitute Kim, and also into a narrative of the Vietnam war: a story which assumes its audience already has a strong cultural back-story and understanding. Jarman and his company never lose this pace throughout, as event after event tumble out in song, and every single moment is deliberate. There’s no room for feebleness here: even the love story seems fuelled by a youthful, hot fury and political frustration.
Both cast and orchestra are equal to the challenge of this sweeping work, although they were sometimes let down by the insistent amplification which tended to impair diction. Amplification seems a necessary evil, to achieve balance with such a strong instrumental contribution. And yet this theatre is so intimate, and most of these performers so competent and capable of projection -- evidenced by the occasional moments when the technology failed them!
The show is notoriously awkward to cast, with its Asian setting. Largely, Jarman’s casting ignores racial demarcation (the only realistic option within Hobart’s limited bank of performers). This is just one of those things we have to agree to suspend disbelief about. But it’s such an important component of this narrative that I found myself constantly philosophising on the restrictions physicality poses on casting. Sometimes it was downright confusing, such as distinguishing whether characters were American or Vietnamese. But that’s an unwinnable battle this time.
Tess Hansen (Kim) works hard at the centre of the cast, and is supported strongly by Scott Farrow’s smooth performance as Chris, as well as by the other principles and a consistently tight and robust ensemble. Andrew Hickman warmed into his role as a rather Thénardier-ish Engineer; and Craig Wood is strong (sometimes a little too strong) as Thuy, the husband Kim’s father had intended for her. All the principles could do with a little refining, such as in their emotional transitions, but this is bound to come with the season. If the opening night audience is anything to go by, reception will be wildly appreciative. Don’t leave it til the last minute if you’re planning to go; I don’t imagine Miss Saigon will have any trouble selling out.
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