Vitalstatistix and Brink Productions. Festival Centre - Space Theatre. 5 Mar 2022
I’ve always said, the only ordinary people are the people you don’t know. Emma Beech, creator and performer of The Photo Box is no ordinary person. The creative heads at Vitalstatistix and Brink, Emma Webb and Chris Drummond respectively, have watched with delight how she has grown her capacity to extract the extraordinary from the lives of others and retell it with alacrity, humour and sensitivity on stage. In The Photo Box, she turns her remarkable talent on herself.
Beech grew up in a huge family on the banks of Lake Barmera. She missed the hub bub so much, she had triplets. The youngest of nine by a country mile, her elderly parents surrendered the family pics for some organization and Beech discovered her mob was interesting too.
Lovely old photos in faded pink tones of the child Emma are splashed on to movable boards upstage that simulate album viewing. The set evokes the lake itself complete with one of the ubiquitous dead trees derived from frequent re-flooding. Early on, Beech wisely eschews strict chronology for thematic grouping and narrative arc. Christmases, boyfriends, jobs, big brothers, parents, school, and partying fly off the photos and inhabit the versatile performer. Sporting an orange suit, her slim figure belies birthing triplets - the stories from the hospital nursery were very poignant. Whereas Matisse conveyed fulsome form in a sketch of few brushstrokes, Beech theatrically evokes family, friends and acquaintances with skillful minimalism. Director Mish Grigor shows off Beech’s capacity to transit between scenes and themes with grace and assurance, and associate biography with whimsical nostalgia and poignant memory. Some family make cameo appearances in film and in person. Confessions and intimate detail must have provided a gamut of emotions for Beech during show development that exudes as tender humour and honest reflection on stage.
Many of us are challenged by old photos, often because of fossilised interpretations of the past. Emma Beech inspires us to plunge in and have a fresh look with our subsequent accumulated life experience and to discover that the past is not forever the same. Bravo!
David Grybowski
When: 3 to 7 Mar
Where: Space Theatre
Bookings: adelaidefestival.com.au
Adelaide Festival. Michaela Coventry, Sage Arts. Queen’s Theatre. 4 Mar 2022
We are told the show will last 35:33. We are ushered inside the bare whitewashed walls of the colonial Queen’s Theatre and before us is a room with tiny round tables - each with a single chair - laid out in neat rows. The only light emanates from the desk lamp on each table which is accompanied by a mid-20th Century-style, pre-push button, fixed line rotary dial phone and a small plug-in switchboard. All this is designed to take one back if one’s been there.
When I listen to 891 long after Peter Goers is finished - in the wee hours when I cannot sleep - I wonder about the lives of the people calling in. Who are they and why are they up and apparently alert? Victorian theatre-maker Roslyn Oades has actually taken her inquiry of this phenomenon to a whole new level by collecting thousands of messages volunteered by night owls between midnight and 6 am who call her special number. Again to invoke the past, their voices are replayed with the scratchy sound quality when answering machine messages were recorded on magnetic tape. Shift workers, bar staff, students, and even young people purge their anxieties and foibles, or ramble on in the dead of night.
Like the operator of an old telephone exchange from the movies, one can switch between callers and have a unique listening experience. Frequently ambient sound (Bob Scott – co-creator) and lighting effects (Fausto Brusamolino) bring the audience together for a shared experience.
In this immersive audio experience, you are awake in the middle of the night. That’s when the mind wanders - searching for meaning or rummaging through memory. Neat rows of tiny desks took me back to high school exams – complete with an invigilator (Katia Molino) observing from a high desk. The messages forced me to recall the disassociation I felt hearing a living voice without bodily attachment – more pertinent with someone you love than with an entertainment. Remember, this was a time when recorded messaging in the home was new, and one was getting used to the technology. Although the rotary dial on the phone was not connected, I played with it by dialing the number of the home of my
adolescence 233-3756, several times – maybe my Mum or Dad would pick up - even though they are deceased and the house is demolished. And all those torturous calls late-at-night trying to resuscitate a dying teen relationship. I found the The Nightline experience a deeply personal one.
But what does it hold for a more youthful audience member without nostalgia to be triggered? Perhaps creator Roslyn Oades is an aficionado of American film noir with its dark moods of pessimism, fatalism and menace. This makes the The Nightline a visceral introduction to the genre for the novice.
After 35 minutes and 33 seconds, the telephone ominously goes dead with the beep of disconnection. The invigilator slides back the enormous roller door and the fresh air outside awakens one as if from a dream. A delightful and transcendent experience.
David Grybowski
When: 4 to 20 March
Where: Queen’s Theatre
Bookings: adelaidefestival.com.au
Production Image Credit: Tony Lewis
Festival d’Aix-en-Provence and Adelaide Festival. Festival Theatre. 4 Mar 2022
Art reflecting politics reflecting art. Russian composer Nikolai Rimsky-Korsakov became an activist while a professor at the St Petersburg Conservatory in solidarity with his students protesting the shooting of workers petitioning the Tsar in 1905. This callous act eventually led to the Russian Revolution and the end of the dynasty. Rimsky-Korsakov bases The Golden Cockerel on the same-named Pushkin tale of a decrepit Tsar - who is derelict in his national duties - and his disastrous border wars which eventually leads to his demise. Referencing current events, we can only hope so.
The indefatigable Melbourne-born Barrie Kosky directed the 1996 Adelaide Festival with its memorable Red Square late-night venue (another Russian reference). Current Adelaide Festival directors Rachel Healy and Neil Armfield have already brought us Kosky’s operas Saul and The Magic Flute since 2017, so there’s a lot of love for this hugely famous, accomplished and productive international director.
It's easy to see why. Kosky’s flamboyant approach to the creative reinvention of the operatic experience is visually far removed from the static divas and divoes of the Italian romantic tragedies. And there is a perfect match between Kosky’s imagination and the mythical elements of The Golden Cockerel. As Rachel Healy opines - drawing heavily from Mark Pullinger’s excellent review of 21 May 2021 in backtrack.com - with its “political satire, sardonic humour and surreal burlesque, The Golden Cockerel is an opera tailor-made for Barrie Kosky.” Kosky’s creations are like living a dream rich in aural and visual textures, a double-barreled sensual assault. He imagines for you.
Far removed from the formality of the palace, the action takes place on the Russian frontier close to the warfare in a hilly field of autumn-dried tussock grasses dominated by a single dead tree. Longing for leisure and weary of the constant enemies on the border, the Tsar surrenders his vigilance to a golden cockerel whose magic is in singing of impending danger. But the Tsar’s promise to the astrologer in return for the bird will be his undoing.
The Tsar is disheveled and unhinged, waving his sword aimlessly at imaginary foes. His sons are spoiled sharpies in suits and their feint love for their father and misdirection of the Tsar’s affairs holds elements of King Lear. We see the boys later, headless, hanging from the limbs of the lifeless tree in a grotesque Goya-esque reflection of the horrors of war. And the Tsar is now beguiled by an enchanting queen.
Pavlo Hunka (Tsar) and the graceful Venera Gimadieva (Queen) dominate the central portion of the opera in a lengthy arioso comprising a beautifully ethereal exchange of intentions. But their emotional commitment is faint. The Tsar is a twat – like an impotent adolescent in an alcohol haze - while the Queen is regal, elegant, seductive and secure. Whilst they maintain their symbolism - the Queen as a shimmering symbol of the mythical East dressed in the gold of the rising sun and the Tsar as a derisive object of political satire – an interpretation on a human level shows us a beautiful woman unedifyingly throwing herself at a sad older man. An understanding of the symbolism in the original tale and in Kosky’s re-awakening richly enhances the experience, as the aforementioned protest in 1905 was associated with Nicholas II’s defeat by the Japanese over Manchuria. Andrew Popov’s astrologer is a Chinese sage in European attire - his soaring tenor-altino is startling. Kosky mischievously broadens the definition of “East” by having Matthew Whittet’s fantastically unfeathered and high-heeled cockerel resemble a Hindi saddhu (discombobulatingly voiced over by Samantha Clarke).
Four fantastic dancers costumed like you’ve never seen before have the main function of livening things up. The Adelaide Festival Chorus is out in force, sometimes dressed like extras from Beetlejuice, sometimes it’s horses for chorus – over-large heads supported by lovely legs. Bravo! Kosky briefly employed a wonderfully detailed wheeled machine that delighted. Conductor Anthony Hunt leads the Adelaide Symphony Orchestra in another unreproachable performance. As Neil Armfield says, “If you’re transported by Rimsky-Korsakov’s Scheherazade or Flight of the Bumble Bee, you’ll fall in love with this richly melodic, kaleidoscopic work.”
Of course the whole is greater than the parts. Kosky sprinkles the theatre magic dust into your eyes and ears and you slip away from your worries into a sublime meditation. It’s the first staging of The Golden Cockerel in Australia and this might be your only shot at it.
David Grybowski
When: 4 to 9 Mar
Where: Festival Theatre
Bookings: adelaidefestival.com.au
Production Image Credit: Andrew Beveridge
Adelaide Festival. Pina Bausch/Germaine Acogny & Malou Airaudo Pina Bausch Foundation, Ecole des Sables & Sadler’s Wells. Her Majesty’s Theatre. 4 Mar 2022
Rite of Spring was a seminal work of the great Pina Bausch and now almost half a century after its creation, its German cast has become African and its oppositional groupings have taken on a tribal spirit. In this woke era, the gender encounters and the carnal clashes are as disturbing as they are dramatic.
Bausch’s inventive choreography and her bold challenges to the language of human motion have had the most profound and lasting impact on the world of dance and here, in the Rite of Spring, accompanied by Stravinsky’s strident tonal assertions, the brutality within her 1975 work feels all the more startling.
It is a mighty work which has continued to leave audiences spellbound and adoring. This was evidenced by the standing ovation at the dance’s Festival opening night in Her Majesty’s Theatre.
There is some deep satisfaction to be found in Bausch’s characteristic formations: the tight bunches of defensive humanity, the desperate darting and dashing, the back arching and hunching, and controlled abandon.
This work is danced on dark, primeval dirt. It is a soft carpet which delivers a lovely padding sound as the dancer’s pound over it.
One of the great features of the production is, in fact, the spreading of the soil.
It is an interval performance piece.
The evening opened with two mature dancers in black performing a contemplative preliminary piece choreographed and danced by Africa’s Germaine Acogny with Bausch dancer Malou Airaudo. They represent a septuagenarian sisterhood of survival, dancing pensively with poles and washtubs symbolic of the commonality of female domesticity.
As this piece finishes, a huge backstage team emerges to rip up the big white square of stage floor on which the women have been dancing. In Bausch-style symmetry, the crew replaces it, hammering down great rolls of canvas, then wheeling out huge bins, tipping out their contents and then spreading the soil with shovels before sweeping it into an immaculately, smooth carpet. It is gripping theatre in its own right and the audience claps and cheers.
The ensuing dance of the Rite of Spring revolves around a red dress which is a ritual curse.
The woman wearing this dress must try to dance herself to death. Before this denouement, the thirty-eight dancers perform assorted defining rituals, the most spectacular and beautifully Baushcian of them all being a huge perfect circle of synchronous movements. Dancers rise and then crash, rise and crash.
The African men are all shining, muscular bare torsos. Powerful. Commanding. The women are lithe, beautiful, and vulnerable in their flimsy negligees. They are uniformly cream until one, miraculously, is wearing the deadly red. The music throbs and shrieks and the tensions mount until inevitably the woman in red’s frenetic despair is over and so is the rite.
Samela Harris
When: 4 to 6 Mar
Where: Her Majesty’s Theatre
Bookings: adelaidefestival.com.au
Production Image Credit: Andrew Beveridge
Adelaide Festival. Dunstan Playhouse. 3 Mar 2022
What is an old Adelaidean to feel when confronted with a creation such as this?
A torrent of emotion is evoked, a crushing weight of memories and, oh, such a yearning for the long-gone to know of it, to be there, too. Who could ever have imagined this day?
In find myself channelling John Bray, Don Dunstan, and my dad Max Harris among those long gone. These players in the midst of the political thrust of the time crowded into my mind.
I never met that shy English law professor, Dr George Ian Ogilvie Duncan, but his fate consumed my world for some time - just as it did for so many citizens of this city, so many of them fellow members of this opening night audience.
The societal reaction to the death of Dr Duncan on May 10, 1972, is superbly rendered by librettists Alana Valentine and Christos Tsiolkas in this breathtaking oratorio work.
Most potently is the "Medindie Establishment“ response depicted by one glorious mezzo singing the moral refrain of the day, the outrage of those who did not really approve of or understand homosexuality as such but as mothers and equals, were aghast at the cruelty and injustice of the murder of this gentle academic.
This rallying of Adelaide’s collective grief in the 1970s is potently portrayed, one daresay with a large nod in the direction of the production’s eloquent history consultant, Tim Reeves.
Watershed is a docu-drama of sorts, an oratorio which feels more like an opera. It is in a minor key. It has no tune to speak of but its libretto glides atop a multilayered and emotionally evocative orchestral composition by Joe Twist and conducted by musical director Christie Anderson.
There is recitative and more recitative, sometimes painfully attenuated. Perhaps because the pain cannot go away?
The voices are sublime. Oh, that bass baritone Pelham Andrews portraying the ugly cops and poor old Mick O’Shea. Ah, for Mark Oates as Duncan and also Dunstan, a lusty tenor with acting cred. Add Ainsley Melham as the lost boy alongside the harmonious might of the Adelaide Chamber Singers. Art, artful aural sensurround.
And then there is Mason Kelly, the dancer.
Lithe and brave, he is centrepiece to this historic phenomenon.
In flying harness, he is suspended over the stage, drifting, floating, sinking, drowning before our eyes. We can feel the weight of the water as it takes his life. It is vivid, immediate, agonising.
Duncan's death by drowning in the River Torrens remains unresolved. His murderers are unpunished.
The production fastidiously tracks the timeline of the case, the accused, the acquittals, the media, the torment of Mick O’Shea, the various attempts at legalising homosexuality in this state, firstly from Murray Hill and eventually by the sheer dogged determination of Peter Duncan (no relation). It depicts the evolution of the gay scene and the persistence of poofter bashing, even after legal relaxation.
It feels incongruous to hear an uncompromising vulgarity of language coming from classical voices in a libretto. But Watershed whitewashes nothing.
It is a brutally frank.
It is not an easy night at the theatre.
It is an historic night. It is a bravura night. It is an Adelaide night like no other. A self-laceratating Adelaide night.
Feast, the Festival, State Opera, the determined powers which brought it together must be saluted along with its tech perfection: Jane Rosetto with a trusted and true perfection of sound; Lewis Major shining as the blazing new choreography talent on the scene; Aisla Paterson hitting exactly the right notes on costume and design; and lighting supremo Nigel Levings showing why he is still “the man”.
They are the powers behind the utterance that a show has “high production values”.
And, of course, there is the professional finesse of Watershed’s director Neil Armfield whose rise to eminence, as they say in the classics, “ain’t been for nothing”.
Samela Harris
When: 3 to 8 Mar
Where: Dunstan Playhouse
Bookings: adelaidefestival.com.au