"Like a kids' nativity play gone bonkers".
That is an odd descriptive drawcard for an Adelaide Festival show - but then again, a theatre company which dubbed itself Stan's Cafe after the cafe in which it met, is hardly likely to be hidebound.
Hence, as Stan's Cafe brings a production with the deeply earnest title of ‘The Cardinals’ and even presents it in a church, it is anything but old-fashioned theatre. It is a religious experience of the most alternative kind. According to Stan's Cafe artistic director James Yarker, it is as good for atheists as it is for Christians. It can be interpreted in many ways, even as a "Marxist construct."
It tells the story of the world's creation but, at the same time, it sends it up just a little bit. The audience gets to see not only the actors performing their given roles but also the actors in their backstage environment - simultaneously.
"There are dozens of costume changes going on backstage," explains Yarker from the company's base in Birmingham, England. This is all because the three cardinals were intending to present their religious story with puppets and went to the trouble of making wonderful sets for them. When the puppets went missing, the crimson-robed cardinals turned on the show without them - doing a lot of it wordlessly.
"They are massively keen on doing the show but they are not good theatre makers and they make a lot of kids' errors like tweaking the curtains to look out on the audience,' says Yarker.
"They're very earnest but also absurd.
"The show looks ravishing but their performance style is quite naive.
"To get Jesus walking on water on top of the set, they have parallel bars.
"While the audience can concentrate attention inside the proscenium and it is beautiful, you also see the cardinal struggling to keep his position above.
"It is inside/outside, slapstick, with lots and running around outside while inside a beautifully serene scene is taking place."
Yarker says that it was talks in the British media about British presence in the Middle East and the Crusades which sparked his interest in creating The Three Cardinals. "It got me reading about the Crusades, old and current situations in the Middle East and their parallels. The Crusades are not that fascinating but what excited me was that when the Crusades were not happening, people got on really well and it was so peaceful. Why there were crusades needed explaining."
Onwards from the beginning of the world to the end of the world and this unusual production of Bible stories.
But there is one other element - a woman. And she is a Muslim. She is the company stage manager.
"The cardinals take her for granted but she is crucial to the show," says Yarker "When she downs tools, their show falls apart.
"Her part allows us to show how much the Bible is shared in both religions. It allows us to reflect on the notion of martyrdom and that one person's martyr is another person's terrorist."
The Syrian-born performer who usually plays this role encountered visa problems and can't tour so one Rochi Rampal, a Birmingham actress has learned the part in a hurry.
Among the cast, there are varied religious stances - one practising Anglican, one non-practising Roman Catholic, one whose father is a Methodist preacher and an atheist.
But, while the cardinals had an evangelistic hope with their puppet play, Stan's Theatre Company sees ‘The Cardinals’ more as a play that is interested in religion's place in society. "Provocative but not controversial" is how the company wishes to come across. Hence, such a grand concept as the hand of God is shown as a hand appearing from aloft to the Bible characters on the set but, aloft, for all the theatre world to see, is the actor playing the cardinal, reaching his hand down from above.
This Festival event will be the first Adelaide appearance for James Yarker but the company has a history here. "We've done a couple of WomAdelaides," he says.
"Those who came had a fantastic time here."
Their last appearance was at the Earth Station in Belair National Park, Stan's Cafe presented ‘Of All the People in the World’, a work which revolved around grains of sand representing populations of the world. And after the Festival, they are off to Tokyo and their next project about when Japanese silent film had live commentators.
Samela Harris
The Cardinals. Part of the Adelaide Festival 2015
When: 11 to 14 March
Where: Flinders Street Baptist Church
Bookings: bass.net.au or adelaidefestival.com.au
The State Theatre Company of SA unveiled its 2015 program in the way in which it wishes to be seen. Not a bit like the conventional season program launch, this event was delivered with a glamor of carefully considered production values. A darkened stage arrayed with a hanging garden of spot-lit costumes, a large video screen backdrop, a grand piano illuminated OP and a lectern on prompt.
The aesthetic spoke of mystery and expectation.
And so it was.
But first, General Manager and patriarch Rob Brookman was to triumph the immense successes of the past season of the State Theatre Company - sellout shows, a quarter of million in sheer profit and an exciting future in discarding the 42 years of government statutory authority to burst forth as a free entity in brand new premises which were to be announced at the launch but now cannot.
Now, here's Geordie to do the 2015 program reveal.
Therein, top actors Nathan O'Keefe and Kate Cheel entered to occupy their own spot-lit spots and, as Geordie offered teasers on each show, they performed extracts of the script before, if the theatre-wise audience did not recognise the style, Geordie announced the name of the play itself and then stars of said shows extrapolated on their roles and the characters of the plays on the big video screen.
This was altogether stylish and effective - a classy, no-expenses-spared unveiling from a company riding high on its success.
The forthcoming season was very well received. It is a ripper of a season with luscious treats for everyone.
It bursts forth with a thrill of little-performed Beckett as the STC's Adelaide Festival 2015 star turn.
The ‘Beckett Triptych’ consists of Footfalls, Eh Joe & Krapp's Last Tape performed in the STC Scenic Workshop and starring Peter Carroll, Pamela Rabe and Paul Blackwell and directed by Geordie Brookman, Nescha Jelk and Corey McMahon.
The Ray Lawler classic, ‘Summer of the Seventeenth Doll’ will hit the Playhouse in April and an ambitious all-the-family co-production of Masquerade, a Kate Mulvany adaptation of Kit Williams's book, will come to Her Majesty's before touring in May.
Harold Pinter's ‘Betrayal’ and Ben Jonson's ‘Volpone’ (or The Fox) follow and then Angela Betzien's crime thriller play, ‘Mortido’, will have its world premiere in the Dunstan Playhouse in October.
‘The Popular Mechanicals’, as originally directed by Geoffrey Rush and written by Keith Robinson and Tony Taylor with William Shakespeare will amuse and close the season in The Space in November.
But, there's more on the program – ‘This is Where We Live’, a State Ed co-production with Hothouse, a State Extra return of Miriam Margolyes in ‘The Importance of Being Miriam’ and a State Umbrella presentation of ‘Madame, the Story of Joseph Farrugia’, otherwise known as Madame Josephine of the Crazy Horse. This, a co-production with Vitalstatistix and Torque Show productions with Farrugia in interview with Ross Ganf.
New fundraising initiatives and a different form of State Friends were announced, and commissioned plays under the Jill Blewett umbrella. Six shows would tour and STC would feature in hosting the four-day National Play Festival 2015.
Watch this space to see how the season unfolds.
Samela Harris
The Adelaide Theatre Guide Awards were celebrated at the Adelaide Entertainment centre on the 16th of August. Twitter was awash with photos and messages on the hashtag #ATGawards and all of the winners were announced live online as the proceedings progressed.
Congratulations to all of the winners and the nominees.
The Adelaide Theatre Guide website can be found here: www.theatreguide.com.au
Professional
Winner Best Show - Comedy
Vere (State Theatre Company of South Australia)
Other nominees
Death in Bowengabbie (Bakehouse Theatre Company)
Girl Asleep (Windmill Theatre)
Neighbourhood Watch (State Theatre Company of South Australia)
Winner Best Show - Drama
The Dark Room (Flying Penguin Productions in association with the State Theatre Company of South Australia and Holden Street Theatres)
Other nominees
East of Berlin (Bakehouse Theatre Company)
Orphans (Bluefruit Theatre)
And No More Shall We Part (Bakehouse Theatre Company)
Winner Best Show - Musical
Passion (Swell Productions)
Other nominees
La Traviata (State Opera of South Australia)
Homemade Fusion (So What Media)
Winner Best Ensemble
Notoriously Yours (five.point.one)
Other nominees
Lovers and Other Strangers (Werdna Theatre Productions)
The Comedy of Errors (State Theatre Company of South Australia)
Homemade Fusion (So What Media)
Winner Best Female Performance
Jordan Cowan (The Dark Room, Flying Penguin Productions in association with the State Theatre Company of South Australia and Holden Street Theatres)
Other nominees
Elizabeth Hay (Jesikah, State Theatre Company of South Australia)
Miriam Margolyes (Neighbourhood Watch, State Theatre Company of South Australia)
Clare Mansfield (East of Berlin, Bakehouse Theatre Company)
Winner Best Male Performance
Paul Blackwell (Vere, State Theatre Company of South Australia)
Other nominees
Matt Crook (The Lake, five.point.one)
Sam Calleja (Orphans, Bluefruit Theatre)
Adam Carter (East of Berlin, Bakehouse Theatre Company)
Winner Best Technical
Craig Behenna, Matt Crook & Brad Williams, Videography & Projection Design (Notoriously Yours, five.point.one)
Other nominees
Jonathon Oxlade, Set & Costume Design (Girl Asleep, Windmill Theatre)
Manda Webber & Chris Petridis,Set & Lighting Design (The Lake, five.point.one)
Wendy Todd & Geoff Cobham, Set & Lighting Design (Babyteeth, State Theatre Company of South Australia)
Amateur
Winner Best Show - Comedy
Wrong Turn at Lungfish (St. Jude’s Players)
Other nominees
Loves & Hours (Galleon Theatre Group)
Nana's Naughty Knickers (Tea Tree Players)
The Lady in the Van (Stirling Players Inc)
Winner Best Show - Drama
Richard III (University of Adelaide Theatre Guild)
Other nominees
Playboy of the Western World (Independent Theatre)
Romeo & Juliet (University of Adelaide Theatre Guild)
Inheritance (Stirling Players Inc)
Winner Best Show - Musical
Xanadu (Davine Interventionz)
Other nominees
Little Women (Therry Dramatic Society)
Oliver! (The Gilbert and Sullivan Society of South Australia)
A Little Night Music (Hills Muscial Company)
Winner Best Ensemble
Disney's The Little Mermaid Jnr (Pelican Productions)
Other nominees
Neville's Island (Adelaide Repertory Theatre)
Tainted Love (Spotlight Theatre Company)
The Fox on the Fairway (St. Jude’s Players)
Winner Best Female Performance
Kate Dempsey (Xanadu, Davine Interventionz)
Other nominees
Cate Rogers (Holy Day, University of Adelaide Theatre Guild)
Rachel Burfield (Richard III, University of Adelaide Theatre Guild)
Abby Hampton (Romeo & Juliet, University of Adelaide Theatre Guild)
Winner Best Male Performance
Bart Csorba (Richard III, University of Adelaide Theatre Guild)
Other nominees
Andrew Horwood (Loves & Hours, Galleon Theatre Group)
Michael Bates (The Phantom of the Opera, Matt Byrne Media)
Andrew Clark (A Chorus of Disapproval, St. Jude’s Players)
Winner Best Technical
Jen Frith, Kylie Green & Tanya Gallery, Set & Costume Design (Disney’s The Little Mermaid Jnr, Pelican Productions)
Other nominees
David Roach, Adrian Shirley & Matthew Marciniak, Production Design (Playboy of the Western World, Independent Theatre)
Dennis Noble, Set Design (The Lady in the Van , Stirling Players Inc)
David Lampard & Mark Wickett, Set & Projection Design (Oliver!, The Gilbert & Sullivan Society of South Australia)
A special accolade is awarded for sustained excellence and contribution to theatre in South Australia. Named in memory of past review coordinator and critic, Richard Flynn.
The Richard Flynn Award
Isabella Norton
Theatre Association of SA
Each year the Theatre Association of SA recognises a member company or individual member that has made a significant contribution to top quality, non-profit theatre for the love of theatre. They have demonstrated passion and dedication, achieved high standards through best practice and enjoyed creative success.
This year marks the second time the award has been presented.
TASA Bravo Award Winner
Ann Humphries
For their seventh production in the 2014 season, The State Theatre Company of South Australia will present The Importance of Being Earnest. The play, Oscar Wilde’s most famous and last production, debuted on the 14th of February in 1895 in London, England at the St James Theatre.
The writing is witty, frivolous (there is really nothing earnest about it) and hilarous and for a real treat The State Theatre Company is bringing great dame of Australian theatre, Nancye Hayes to star as Lady Bracknell alongside one of Adelaide’s fastest rising stars, Nathan O’Keefe as Algernon.
Presented by the State Theatre Company in association with Envestra this production will be directed by Geordie Brookman with Assistant Direction by Yasmin Gurreeboo and design by Ailsa Paterson. The full cast includes Lucy Fry, Nancye Hayes, Caroline Mignone, Nathan O’Keefe, Yalin Ozucelik, Anna Steen and Rory Walker.
Set within the stifling conventions of Victorian England, two young bachelors have taken to bending the rules and the truth to add a dash of excitement to their lives. Jack invents a brother Ernest as an excuse to leave his dull country life behind so that he may pursue Gwendolen, the delectable daughter of the formidable Lady Bracknell. Across town, Algernon decides to take the name Ernest, when visiting Jack’s young ward Cecily. When each gentleman is forced to unwind his web of lies and reveal himself – being “earnest” takes on a whole new meaning…
Company artistic director, Geordie Brookman said that the opportunity to “bring together an actor of Nancye’s stature with a bright, young star like Nathan in such an absurdly funny play was an irresistible opportunity. The production will be both sumptuous and anarchic, combining all of Wilde’s wit with Nathan’s brilliant physical comedy skills.”
Nancye Hayes (OAM) is a multi-award winning actress, achieving a Helpmann Award, Green Room Award, Norman Kessell Memorial Award, three Lifetime Achievement Awards, a Critics Circle Award and an MO Award for her past work. Nathan O’Keefe has also been recognised by the Adelaide Critics Circle with awards including the Individual Professional Award for a body of work.
The much-loved comedy of love, manners and mistaken identity has been delighting audiences for over 100 years, and will continue to do so in the Festival Centre’s Dunstan Playhouse from the 25th of July until the 16th of August (opening night Tuesday 29 July). Following the Adelaide season, the production will tour to Canberra, Geelong and Wollongong.
Book your tickets here, and remember in the words of Oscar Wilde, "The truth is rarely pure and never simple. Modern life would be very tedious if it were either, and modern literature a complete impossibility!"
Paul Rodda
When: 25 Jul to 16 Aug
Where: Dunstan Playhouse
Bookings: bass.net.au
I recently spent several days on the island of Tasmania; a beautiful place that is good for the soul, palate and intellect. There is no questioning the quality of their wines, local produce and the ability of the locals to make the best use of both. There are fabulous whiskeys, amazing beers and delicious ciders being produced and they enhance wine, not detract from it.
Tasmania is not the only Australian wine region that has plenty to offer the epicurean, but it has more to offer than most.
In the UK, US and Canada, Australian wine has become commonplace; its cloth cap and hobnailed boots, the McDonald's of wine, the drink of the plebeian not the patrician.
And here is the crux: this current image of Australian wine does not suit Tasmanian wine, but Tasmanian wine is still Australian. Tasmanian wine is struggling to be seen as a peacock in a paddock turned into a dustbowl by a huge flock of brush turkeys.
How much do consumers like to pay for wine? A damn sight less than the average cost of a Tasmanian bottle.
Below is a table of red and white bottled wine sales in Australia on a moving annual total (MAT) to August 2013 in millions of litres:
The average retail price of a bottle of table wine in the Woolworths group is $10.24, and the average price of a bottle of Tasmanian wine in the same group $20.91. Units of Tasmanian wine only account 0.9% of Woolworths stocks, but in value they represents 1.9%. Dan Murphy's stocks 55 Tasmanian wines from 19 producers, so there is space for more, but not a lot of space. Not so much space that Tasmania can increase production rapidly, thinking it can take the world by storm.
So what is the lesson from this? The Tasmanian wine industry should grow slowly - always remaining just short of market requirements. If the customer is kept a little short on product then the producer gets to set the price; once there is surplus stock the producer is forced to take the price as set by the market.
With that in mind, here is a review of a Tasmanian Pinot Noir.
Delamere Vineyards Tasmania Pinot Noir 2012: We’ve all heard the story of good wine reflecting the patch of dirt the vines are grown on, or more broadly the region that the grapes originated from. This wine is a blend of vineyards, so should reflect Tasmania, which it does, but that is not the point here. Wine is nearly always enjoyed more in its home surroundings, and on first taste this wine, tasted in my home in Byron Bay, didn’t come across too well.
However after being cooled in the fridge for a while, as Pinot Noir is a cool climate grape, it was more akin to drinking it in a cooler climate and greatly enjoyed. The nose transformed from broad and flat to defined pinot noir stinky. Delicate top notes travelled over a firm base of delightful flavour; good on the finish and enough on the return to add extra interest. 94 points and very reasonably priced at $27.
Tony Keys