Culture Club reviews, 774 ABC Melbourne, September 20th. [September 20]
Three shows to review this week – two one-man plays and a musical.
‘Walking Mark Rothko’ is on at La Mama theatre in Carlton as part of the Melbourne Fringe Festival and it’s performed and written by Adam Cass.
This play is billed as ‘adventurous theatre’ and it’s best to go along being prepared to be nudged out of your comfort zone. Not only is there no ‘fourth wall’ between the stage and the audience, but the performer Adam Cass, or ‘Orange’, as his character is called, speaks directly to the audience the whole time and invites us to get involved in the performance – if we’re willing.
Adam Cass has written at least half a dozen plays in the last five years. He’s worked with Red Stitch Theatre and he will soon have a show at the Sydney Opera House, so he’s definitely a talent to watch at the moment. And it seems he enjoys destabilizing the relationship between the performer and the audience.
Orange has a problem – he can’t feel emotions. He can feel physical pain and in fact he makes himself endure agonising foot pain, perhaps just to remind himself what pain feels like. But he can’t feel happy or sad or in love so he has to simulate these things. For example, he’s written a script which he invites a woman from the audience to get up and read with him, in which he asks her to hop into bed with him so that he can try and feel something. This is a very funny scene, especially on opening night when the girl who got up from the audience was a really lovely performer. Orange also has a dominating mother who he talks about constantly, and you wonder whether some of his emotional problems stem from the relationship with her (cherchez la mere… ).
There’s an interesting challenge for the solo performer with a show like this – what if you get a real exhibitionist in the audience who is willing to get up, and perhaps even try to take over?
There’s no clear or didactic ‘message’ or even story in this show, but it does make you think about empathy and numbness, about the impact of our increasingly digital virtual lives on how much we ‘feel’. It made me think about the current debate about ‘trolling’ by people willing to be extremely rude and bullying on Twitter and on comments pages of websites – are we somehow numbing ourselves to others feelings?
At times this production felt a bit slow. For example Cass sang one whole section of the play as improvised opera, which was a lovely idea, because opera is so full of overblown highly dramatised feelings (was Orange hoping that telling a story in this style would help him to feel something about the story?) but it went on too long.
So overall – a challenging and provocative work, not entirely successful, but very interesting theatre.
‘Walking Mark Rothko’ is on at La Mama Theatre in Carlton until September 30th.
‘Angela’s Kitchen’ is on at the Malthouse Theatre, performed and co-written by Paul Capsis, directed and co-written by Julian Meyrick.
This is a one man autobiographical show by Capsis who is well known as a cabaret artist. He’s an incredible singer – a star – and I have long been a huge fan of his work so I went along to see this show with very high expectations.
But I have to say I was a little disappointed.
Capsis tells us the story of his Maltese grandparents’ migration to Australia and about his very close relationship with his beloved grandmother Angela. We learn that his grandfather was a frightening and forbidding figure. We ‘meet’ his mother and his aunt briefly, we see a graphic of the family tree, and we hear a few snatches of some traditional Maltese songs. And when Capsis goes into character as one of his family members – his grandmother or his aunt or even as the leader of the bingo nights his grandmother loves so much – he is riveting. He has always been a very good comic character actor.
But this story is mostly told from the first person perspective – in other words, Paul Capsis telling us Paul’s story in Paul’s own words – and when he is just ‘playing’ himself, he seems much less confident and charismatic than when he is in character. That is one of the reasons I didn’t fall in love with this show. For me, Capsis works best in character.
The other reasons are that I’m not sure the co-writers ever clearly decided exactly what the heart of this story was. Is it a story about migration and his grandmother’s survival in a foreign land? Is it a story about Paul Capsis himself, and how he ‘survived’ his own childhood? We’re given what seems to be a lot of personal information about the family but not quite enough personal information about Paul and about what’s been ‘at stake’ for him in telling this story.
And finally – there’s not enough singing! Surely that’s one of Capsis’ strengths, perhaps even one of his survival strategies, and yet there are very few songs in this show.
I have always loved this style of one-person autobiographical verbatim theatre and there have been many brilliant examples of it produced in Australia over the past couple of decades. Perhaps it would have worked better, though, to have written this story entirely from the perspective, and in the voices, of those family members/‘characters’ who Capsis introduces us to.
‘Angela’s Kitchen’ is on at the Malthouse Theatre in Southbank until September 23rd
Finally to ‘South Pacific’, a new Australian production of the Rodgers and Hammerstein musical, starring Lisa McCune and Teddy Tahu Rhodes.
This musical has been one of Rodgers and Hammerstein’s most successful works. It was made into a film which many of you will have seen and there are lots of ‘hits’ in it, including ‘Gonna Wash That Man Right Outta My Hair’, ‘There Aint Nothing Like a Dame’ and ‘Bali Hai’. There’s also an exotic plot set during WW2 involving a handsome and mysterious Frenchman and a plucky nurse from Little Rock in the US of A. And most astonishingly there is a great anti-racism message running throughout it all – that love is colour-blind – so it’s a wonderful musical and with one exception I thought this was a wonderful production.
What works well?
The choreography is stunning – acrobatic, sexy, with few cliches.
Lisa McCune is show-stoppingly good in the role of Nurse Nellie from Little Rock – intensely charismatic and totally convincing.
Kate Ceberano is a revelation as Bloody Mary – she’s a really good actor and of course her voice is like brandy cream.
Eddie Perfect is funny and dirty.
And Daniel Koek as Lieutenant Joseph Cable has an exquisite music theatre voice and his acting is great.
I think Teddy Tahu Rhodes has been mis-cast. (Pause for communal gasp of shock/horror)
Rhodes is an absolute star of opera. He has a strong rich baritone voice, he usually looks good on stage, and although his acting has never been his greatest strength, he gets away with that in opera because it’s so formalized in its performance style, and he almost never has to speak.
But his speaking parts in this musical were NOT good. He has a silly French accent (which made people around me giggle a bit, even in the most serious moments) and he sometimes looked physically uncomfortable on stage, as if he was not quite sure where to put his long frame.
At times it was almost as if he was in a different show to the other performers – in an opera by Delibes or Bizet perhaps, rather than an American musical.
Nevertheless I highly recommend this show. We have so many great music theatre performers in Australia, it’s a joy to see them getting their teeth into these roles
‘South Pacific’ is on at the Princess Theatre in Spring St.
I’m off to France to perform myself for the next few weeks so i won’t be in the Culture Club for a month, but I’ l be back in time for the Melbourne Festival. Can’t wait.