Menu Sian Prior

Writer, Broadcaster, Singer, MC & Teacher

Culture Club reviews June 21st [June 21]

‘King Kong’ opened at the Regent Theatre last week, the world premiere of a new and spectacular musical theatre production. It was interesting timing to be reviewing this show in the light of Senator Cory Bernardi’s reported comments about the imminent threat of state sanctioned bestiality if gay marriage is legalized. Is King Kong a story about latent bestiality? (sigh) Or is it a story about the human exploitation of nature and the dire consequences of that?

The first thing I want to say is – I DO recommend that you go to this show. It is one of the most astonishing things I’ve ever seen in the theatre and the ticket price will be worth it just for the astonishment factor. The technical team from local company Global Creatures have done a superb job. I do, however, have some serious reservations about this new musical directed by Daniel Kramer.

The plot would be familiar to many of you from the various screen versions of the story (the musical is based on the novel of the original 1933 screen play). A documentary-maker and entrepreneur called Carl Denham finds a pretty young blonde, Ann Darrow, and takes her on a ship to Skull Island in the hopes of making a movie about beauty and the beast with the mythical giant beast that inhabits this island. Although he doesn’t get to make his movie Denham does capture the beast (a giant gorilla he calls King Kong) and takes him back to New York, where he turns him into a freak show. Then it all goes pear-shaped. The book for this new musical has been written by Craig Lucas and the original music is composed by Marius de Vries.

Aesthetically and stylistically this production is a bit all over the shop. If you were generous, you’d called it post-modern, in the way that it borrows bits and pieces from a whole lot of different popular cultural forms and historical moments. If you were less than generous, you’d say it lacked coherence. At times it looks like an R’n’B video clip direct from MTV, with bevies of pornographic blondes dancing in high heels and suspenders. At other times it looks as if it has borrowed scenes from a Fred Astaire and Ginger Rogers movie. It’s a bit Eurovision-tacky and occasionally it looks like something that Cirque de Soleil might have produced.

Often the stage is incredibly busy, with so much happening that you don’t know where to look. It is something of a relief when all the singin’ and dancin’ stops and the love story at the heart of this show (between human and beast) kicks back in.

The music is a mix of different styles, with fragments of dubstep, quotes from 1930’s-style jazz and elements of classical choral music. Although Marius de Vries is credited as the composer, the show also ‘features songs and original compositions by’ a range of other artists, and the combination doesn’t always work to best advantage. (If you have sensitive hearing I recommend you take ear-plugs because at times the volume is thunderously loud.)

Esther Hannaford, who plays the blonde femme fatale Ann Darrow, is wonderful in the role. She has a natural, vulnerable and empathic stage presence which works beautifully in the scenes where King Kong is falling in love with her and when she is trying to protect him from harm. Some of these scenes literally brought me to tears. Hannaford has a very flexible voice and can sing in practically any style. At times, though, I wondered what her true style really is. Mimicry is admirable but we also look for something unique in a voice, don’t we? Perhaps the ‘Full Moon Lullaby’ she sings to King Kong comes closest to revealing that voice.

Adam Lyon who plays Carl Denham is also very good. His voice reminded me a bit of Eddie Perfect’s voice, a powerful instrument with great flexibility and range. But there are some rather odd minor characters who pop up, including Richard Piper’s ship’s captain, played as a kind of cartoon kilt-wearing dreadlocked Scot. The visuals set him up as a humorous character but the gag essentially goes nowhere.

To be honest, until the giant gorilla arrived I wasn’t entirely engaged in this production. And when he did I nearly fell off my chair. This is theatre spectacle at its best.

Without giving too much away, the six metre high creature has been brilliantly anthropomorphised so that his limbs look more like those of a human body builder than a gorilla. The face is unbelievably expressive, given that its movements are controlled by computers. And the puppetry that controls the rest of his body is as good as anything we saw recently in the English production of ‘Warhorse’ at the Arts Centre.

The black-clad puppeteers (directed by Peter Wilson) leap and scurry around the stage with great agility, present yet not present, in a strangely balletic choreography of precise timing (I hate to imagine what could happen if the timing ever went awry). When the giant creature is suffering you entirely suspend your disbelief and suffer along with him.

The lighting design is one of the stars of this show and it is absolutely critical to pulling off the thrills and suspense that go with the King Kong story. The digital wall of lights at the back of the stage make you feel at times as if you’re in the middle of a thrilling 3D video game.

There was not exactly an overwhelming response at the end of the show from the audience on the night I saw it. I’m not sure whether that was because they had reservations about the show or because the ending is inevitably so sad. To applaud raucously would have felt almost as inappropriate as applauding at the end of a funeral.

King Kong the musical is on at the Regent Theatre until at least October.

I have also been to see ‘The Penelopiad’, a Stork Theatre production at the La Mama Courthouse. This play is an adaptation of a feminist re-reading of history by the Canadian author Margaret Atwood (one of my favourite writers) and it centres on a character who would be well-known to those of you interested in the classics. Penelope is the long-suffering wife of the Greek hero Odysseus (of the Iliad and the Odyssey fame; hence The Penelopiad) and once again, it was very interesting timing to be watching this play, given the swirling currents of misogyny in Australian public life in recent weeks. So much of what Penelope talks about in this play is still so current, when it comes to the relative power of men and women.

Penelope is known traditionally as the archetypal ‘good wife’ – the faithful wife – the one who stayed home waiting for TWO DECADES for her husband to return, fending off other suitors, raising their child, while Odysseus was off conquering Troy and having affairs with sirens and fighting minotaurs. Penelope is a princess, the daughter of a Naiad (a goddess of the sea) and her father tried to drown her at birth. In this version of the story she’s given to Odysseus as a child bride after he cheats in a race whose prize was Penelope.

Much of the play is a monologue by Penelope, performed by Carolyn Bock, but there is also a Greek chorus of three young women who play all many different characters, including Penelope’s maids, Odysseus himself, Penelope’s suitors, and the beautiful Helen of Troy.

In case you’re wondering if this a dry didactic political play, it most definitely is NOT. The Penelopiad is incredibly witty, written in contemporary language with songs and visual gags and shadow puppetry and choreography, all delivered wih that classic Margaret Atwood sharp, droll humour. There are lots of laugh-out-loud moments of clowning and plenty of jokes at Odysseus’ expense, about how his legs are really short and how he loves to talk about himself all the time and how he’s the ruler of this island, Ithaca, which has nothing but goats on it. Carolyn Bock is quite riveting as the white-faced Penelope. She moves like a trained dancer and is a natural comedienne, and the three other women in this show are give very fine performances.

In spite of the humour, this play is also a tragedy. As we know from Homer’s original tales, when Odysseus finally comes home from all of his travels, he has Penelope’s only allies – her maidservants – put to death. The story is told from the perspective of Penelope after her own death when she is wandering around in the afterlife feeling guilty about not having protected those women from male violence.

I have to say, in the wake of the much-publicised sexist comments about the Australian Prime Minister and the high profile media stories about rape and violence towards women that we’ve been pummelled with in the last couple of weeks, there was something incredibly cathartic about watching this play and seeing these (unfortunately) timeless themes reflected back at us in the theatre.

‘The Penelopiad’ is highly recommended and can be seen at the La Mama Courthouse in Carlton until July 7th.

And very briefly, last night I saw ‘Shane Warne The Musical’, a semi-staged version of this show at the Hamer Hall. It was hard not to compare this production to the original fully-staged one that toured the country a few years ago, and some of the voices in the new production were not quite as strong as last time around. The sound quality at the Hamer Hall was strangely muted so at times it was hard to catch all of the hilarious lyrics. (Could have been a factor of where I was sitting, though, in the corner of the stalls underneath a balcony.)

But cabaret artist Eddie Perfect, who wrote the musical, once again stars as the hapless Australian cricketing hero and if you didn’t see the original, it is worth seeing this show just to see Eddie strutting his stuff as ‘our Shane’. Somehow he manages to be both fond and critical of this guy who publicly cheated on his wife, harassed women with ‘sexting’ and (according to Eddie’s version) may be struggling to find meaning in his life now that he’s no longer playing test cricket.

Tonight (June 21st) is your last chance to see ‘Shane Warne the Musical’ in this Melbourne season.