Take Your Time: Olafur Eliasson

Take Your Time: Olafur Eliasson (3.5/5)

Museum of Contemparory Art, Sydney

December 2009

Quietly stimulating exhibition that cleverly plays on colour and space. A remarkable range of formats from paintings of colour wheels to a walk through kaleidoscope, walk-in crystals of steel and a waterfall. Eliasson’s work has a beguiling simplicity that on reflection gives rewarding pause for thought.

The Damned United

The Damned United (3.5/5)
Dendy, Circular Quay, Sydney
December 2009

(Director: Tom Hooper, Cast: Michael Sheen, Jim Broadbent, Colm Meaney, Timothy Spall)

Focused on Brian Clough’s 44 day succession of Don Revie as Leeds United manager, with flashbacks to Clough’s early years as a manager, “United” takes no prisoners and tells it not quite as it was, with no excuses for Revie’s brutal football or Clough’s opinionated self-confidence. Tightly scripted and well cast, having grown-up in this period (and though not a football fan) I readily identified with the film, though others may find less in this film.

Mercury

Mercury (4.0/5)

Sydney Dance Company

Sydney Theatre

28th November 2009

(Choreography: Kenneth Kvarnstrom)

There was a Scandinavian feel to Kvarnstrom’s new work for SDC, an exploration of Mercury: Messenger, Liquid Metal and Planet. Mercury is true to its namesake in eloquence and the thievishness use of contemporary moves, more creative than innovative, whilst forgoing swiftness for liquid fluidity. The SDC troupe flowed through their moves with precision and strength, complimented by a simple set, lighting both subtle and dramatic and an excellently reproduced soundscape of predominantly electro-music.

System Building

Aphids and the New Music Network

CarriageWorks, Sydney.

23^rd November 2009

(Composer: Rosemary Joy, performers: Diego Espinosa, Eugene Ughetti)

12 minutes of intimate, miniature percussion served Teppanyaki style to an equally compact audience. A collection of timber, glass and metal sculptures inspired by performing arts venues quietly played, disassembled, reassembled and bathed in a soothing red light. At twelve minutes just the right length to be absorbing and warm. For something different, try this.

Concord

Concord (2.0/5)

The Australian Ballet

Opera Theatre, Sydney Opera House

21^st November 2009

(“Por Vos Muero”, Nacho Duato; “Scuola Di Ballo”, Alexei Ratmansky; Dyad 1929”, Wayne McGregor”)

Under-whelming triple bill. Por Vos Muero missed the high and lows implicit in the title “for thee I die”. Ballet school farce “Scuola Di Ballo” was clearly the strongest piece, well danced and well acted - a well choosen piece to off-set the depth of Por Vos Muero if the latter had had any character. Dyad, although new, was just dated and uninspiring with no flow or challenge. The AB can do much better.

Sculpture by the sea

Sculpture by the sea (3.5/5)
Bondi
10th November 2009
Delightful cliff top stroll amongst 114 eclectic sculptures on a beautifully sunny day. Something good, bad and extraordinary is certain from so many exhibits. For a bit of humour, De Felice’s play on familiar signage gives pause for thought and a wry smile (#1). Propato’s colourful flags “arte de las playas” stunningly ripple in a strong wind against a blue sky (#55). There’s lots to like – go a on a sunny day and enjoy.

Moon

Moon (3.5/5)

Dendy Opera Quays, Sydney

(Director: Duncan Jones, Cast: Sam Rockwell)

A genuine attempt at a thoughtful science fiction film rather than the usual scary monster/evil empire genre. This slow burning story of a one-man lunar mining station with a mystery really feels like the Moon and holds your attention throughout. Rockwell is excellent in both parts (I’ll say no more!).

From Earth to the Universe

From Earth to the Universe (4.0/5)

Powerhouse Museum, Sydney

24^th October 2009

The night sky is lost to us in the glow of streetlights and empty buildings; this stunning exhibition shows us what we are missing and more. The best of astrophotography from just a simple camera to the largest earth-based telescopes and to those in orbit. The colours and detail are stunning in giant enlargements of planets, stars, dust clouds and galaxies accompanied by modest, informative, descriptions.

Bibbenluke

Bibbenluke

Lucy Culliton

Ray Hughes Gallery, Sydney.

22^nd October 2009

Culliton shows great skill and detail in ninety-six traditional oil-based landscapes, a year of changing seasons at her Snowy Mountain’s property. Yet, there is little challenge and a monotonous sameness. Standing back, the tightly hung works form an unintended colourful, mosaic. Elsewhere the Gallery hangs interesting, contemporary, works from Australia and China in a variety of mediums. Organised by CamSoc, private viewing and lively dinner, the whole was much more than the main part.

Kaldor Public Arts Projects 1969-2009

Kaldor Public Arts Projects 1969-2009 (2.5/5)

Art Gallery of NSW, Sydney.

11^th October 2009

Kaldor’s sponsorship of public art is worthy and rewarding. This exhibit of plans, models and photographs from 19 installations fails to scale such highs, being neither artistic nor informative. Contrast this with Kaldor’s latest project – Tatzu Nishi’s War and peace and in between. Two familiar sculptures that for years have flanked the Gallery’s portico become intriguing centrepieces in Nishi’s lounge and bedroom built around each figure; challenging with a touch of humour, worthy public art.

This Kind of Ruckus

This Kind of Ruckus (1.5/5)
Version 1.0
CarriageWorks, Sydney.
12th September 2009

Power; people held in esteem or authority and their power over women that to often leads to misadventure or worse. Moments of humour, moments of reflection, though too many moments of awkwardness to really strike at a subject that cries out for hard-hitting social drama. By just touching but rarely exploring recent headlines, this piece is already dated. A worthy subject, worth more than this.

Swan Lake

Swan Lake (3.0/5)
Imperial Russian Ballet Company
State Theatre, Sydney
19th September 2009

A traditional interpretation of this classic ballet with the happy ending. It would have been a good night but for the appalling sound system that completely scrambled Tchaikovsky’s masterpiece.

Valentino: The Last Emperor

Valentino: The Last Emperor (3.0/5)

Palace Theatre, Paddington

9^th September 2009

(Director: Matt Tyrnauer)

Gentle rather than probing documentary following Valentino Garavani through his 45^th year as a leading fashion designer. The really interesting characters are those who make Valentino’s world work: his business partner Giancarlo Giammetti, the company chairman Marzotto and the seamstresses. Interesting to see how the world of high finance arrives in the world of high fashion. Worth seeing for all the sub-plots at play.

Merrie England

Merrie England (2.5/5)
Rockdale Opera Company
Town Hall, Rockdale
9th August 2009

(Composer: Edward German, libretto: Basil Hood. Director: Ralph Bott)

An Edwardian comic opera set during the reign of Elizabeth I (1590’s) makes fun of the English Court and peasantry. Strong leads in this amateur cast - Walter Wilkins, camp actor, brought a laugh to every nuance (Simon Ward). Pleasant if a little long, some of the secondary parts were not so well played and could have gone to save running time. Overall a nice mix of ditties, ballads and melodies, with touches of Python humour.

Tracksuits of St Mary’s

Tracksuits of St Mary’s (2.5/5)
CarriageWorks,
Sydney 7th August 2009

(Photographs by Harold David)

Daggy fashion item worn by the indolent? This selection of portraits from Sydney’s St Mary’s suburb reveals the tracksuit as practical, worn by ordinary people. The ordinariness of people at home, shopping and at play gives a touching sense of charm. Grouped tightly together, a black & white patch-work in the vast CarriageWorks foyer, creates a strong sense of belonging. The touching tribute to Peter Norman (Google him!) comes out of left field.

Coco Avant Chanel

Coco Avant Chanel (2.5/5)
Dendy Opera Quays, Sydney
4th July 2009

(Director: Anne Fontaine, Cast: Audrey Tautou (Coco Chanel), Benoît Poelvoorde (Étienne Balsan), Alessandro Nivola (Arthur 'Boy' Capel))

Like the haute couture one associates with Chanel this movie goes for simplicity and elegance. Unfortunately it achieves one but not the other - a gentle story lacking real depth. Everyone is a little too nice or a little too naïve. What inspired Chanel to create a new fashion is only lightly explored when the early 20th century offers so much social and technological dynamism.

American Impressionists

American Impressionists (4.5/5)
Queensland Art Gallery, Brisbane
27th June 2009

Intelligently presented collection of impressionist and realist works, 71 American (loaned by The Met), complimented by 30 Australian. Many works stand in their own right; as a collection with well-informed notes this exhibition is absorbing and informing. From landscapes to portraits, to intimate, if idealised, records of modern life the work of American’s John Singer Sargent and John Sloan, Australian’s Tom Roberts and Frederick McCubbin and many others give this exhibition great depth and flavour.

Julie Morris

Julie Morris (2.0/5)

Playhouse, QPAC, Brisbane

27^th June 2009

Who is Julie Morris? A neurotic media personality has-been? Those who knew who Julie Morris is/was, especially the ladies, had a good laugh. For those of us less well-informed this was just a set of snaps of Julie working and holidaying around the world. Apparently having a good time, but pretty dull for those of us without the prior knowledge to fill-in the gaps in Julie’s self-depreciating monologue.

La Bayadère

La Bayadère (4.0/5)
The Paris Opera Ballet
Lyric Theatre, QPAC, Brisbane
26th June 2009

(Choreography: Rudolf Nureyev after Marius Petipa, Music: Ludwig Minkus, Nikiya: Aurélie Dupont, Solor: Hervé Moreau, Gamzatti: Dorothée Gilbert)

Visually stunning production, sparkling sets and costumes almost overwhelm the drama and dance of love lost. Set in India, the choreography is decidedly Russian, danced with French precision if a slight lack of passion and undistinguished music. Each act enhances the delights of this ballet cumulating in the entry of the souls of 32 bayadères that rivals the more famous swans for haunting beauty and splendour. Highly accomplished solos show-off French ballet’s athleticism and technicality.

Simon & Garfunkel

Simon & Garfunkel (4.5/5)
Acer Arena, Sydney
20th June 2009

Almost unbelievably good. At 67 the voices are starting to go, this especially affects Art Garfunkel who sings the soaring melodies. Others would have covered-up with orchestra and backing singers. This was genuine, delightful, emotional; songs as rich and powerful as ever. A highly accomplished band delivered classic tunes just as we remembered them and never took anything away from S&G. 4.5/5 for just being Simon & Garfunkel and a nostalgic evening to remember for ever.

Is Anyone There?

Is Anyone There? (3.0/5)
Palace Cinema, Centro, New Farm, Brisbane
10th June 2009

(Director: John Crowley, Cast: Michael Caine, Bill Milner)

Michael Caine has played the same crusty character in many a film, it’s aged with him and he plays it very well. Caine’s retired magician befriends the retirement homes owner’s young son. Together they ponder death – the magician’s own and the boy’s morbid fascination. A typically English tragic-comedy - a lightish though nonetheless moving story. Caine gives a fine performance, well in contact with the final days of his character.

BodyTorque 2.2

BodyTorque 2.2 (3.0/5)
The Australian Ballet
Sydney Theatre, Sydney
30th May 2009

(Choreography: Reed Luplau “Bleeker”, Damien Welch “Chemical Trigger”, Kevin Jackson “Enter Closer”, Remi Wortmeyer “Fade Not”, Robert Curran “Veiled”)

Five new dances, five new(ish) choreographers, five new musical compositions. A consistent standard - challenging in places, underdone in others. A mix of classic and modern dance, rewarding whilst never quite fulfilling. Nonetheless TAB is be praised for promoting new talent and innovation.

What Just Happened

What Just Happened (1.0/5)
Palace Cinema, Centro, New Farm, Brisbane
23rd May 2009

(Director: Barry Levinson, Cast: Robert DeNiro, Sean Penn, Catherine Keener, Robin Wright Penn, Kristen Stewart, Stanley Tucci, Michael Wincott, Bruce Wills)

What just happened is that I wasted two hours. This supposedly humorous exposė of Hollywood backroom deals is neither funny nor revealing. De Niro plays a film producer fighting studio bosses, directors, actors, agents and ex-wives to finish one film and launch another. If it sounds confusing it is and there is no encouragement to care for any of these egotistical characters. What just happened? Who cares.

Nutcracker

Nutcracker (4.5/5)
The Australian Ballet
Opera Theatre, Sydney Opera House
16th May 2009

(Choreography: Graeme Murphy. Clara: Lucida Dunn (elder: Marilyn Jones, child: Emily Seymour), Doctor/Young Office: Robert Curran)

Murphy’s dramatic story of a ballerina’s journey from revolutionary Russia to 1950’s Australia via the Ballet Russes is enchanting. Intelligent chorography acknowledges the original whilst adding energy and glamour. The three Clara’s perfectly convey the innocence of childhood, precocious talent and longing for love lost. Curran’s gentle presence is ideal for the good doctor and gentleman officer perfectly complimenting Dunn’s radiance and Jones’ frailty. A very successful, and different, telling of this ballet classic.

Star Trek XI

Star Trek XI (3.0/5)
Hoyts, Broadway, Sydney
16th May 2009

Director: JJ Abrams. Cast: Chris Pine (Kirk), Zachary Quinto/Leonard Nimoy (Spock), Eric Bana (Nero), Karl Urban (Dr McCoy), Zoe Saldana (Uhuru).

Good fun adventure, slightly ambiguous story and riveting cinematography - lively enough for newcomers, plenty of nostalgia for Trekkies. Pine has much of Kirk’s cockiness, Urban’s Bones is magnificently spot-on and Saldana’s Uhura brilliantly catches Roddenberry’s desire for a strong black woman. Spock is familiar whilst adding little to the character; sadly Scotty, Sulu and Chekhov are befuddled characterisations. Abrams takes a big and largely successful gamble in a young Kirk and crew.

A Dream Play

A Dream Play (3.0/5)
Ignite Independent Theatre Company
(by August Strinberg, adapted by Caryl Churchill)
Trades Hall, Melbourne
8th May 2009

Meredith Penman’s stunning performance as a woman from another world sent to experience the anguish of life on Earth holds this challenging, if rough around the edges, production together. Is life just a poet‘s dreams, a madman‘s ravings, a not-so-successful lawyer’s mutterings or another of the forty characters‘ expositions? There are no answers only expressionistic challenges that demand a lot of an audience’s concentration. A dream to think about ….

HMS Pinafore

HMS Pinafore (3.0/5)
Rockdale Opera Company
Rockdale Town Hall, NSW
3rd May 2009

Rockdale Opera kept it simple, played successfully for a few giggles and sung delightfully, especially the ladies, and all performed in front of a magnificent set. Most importantly they, and us, enjoyed the whole thing. All-in-all a pleasant Sunday afternoon.

Archibald, Wynne & Sulman Prizes

Archibald, Wynne & Sulman Prizes (2.5/5)
Art Gallery of NSW
2nd May 2009

The Archibald's are dominated by two portrait styles: highly accomplished detailed studies but with no feeling and palette knife oils laid thick and sometimes with passion, not a great year. By contrast the landscapes and genre paintings of the Wynne and Sulman offer a challenging and often a rewarding mix of styles from traditional to abstract, a good year.

360

360 (4.0/5)
Sydney Dance Company
(Choreography: Rafael Bonachela)
Playhouse, QPAC, Brisbane.
25th April 2009

Exciting! Very strong contemporary dance, no story just vivid movement at times hectic at other times delicate and gentle. No set as such, just a back wall of mirrors, reflecting the dances and giving a different (360) perspective. Set to a powerful soundtrack with which the choreography is well matched.

The Boat That Rocked

The Boat That Rocked (2.0/5)
(Director/writer: Richard Curtis)
Dendy Cinema, Circular Quay, Sydney
12th April 2009

A critical moment in music radio history - the end of pirate radio and beginning of BBC Radio 1. Curtis and his ensemble cast brilliantly portray an eclectic mix of stereo-typical DJ's. That, and a few good gags, is sadly all there is. A weak story isn't helped by peculiar editing into a series of loosely connected sketches. Whilst, legendary 60's music goes to waste in a contrived soundtrack.

Firebird and other legends

Firebird and other legends (3.5/5)

Australian Ballet

(Les Sylphides: choreography: Mikhail Fokine, music: Chopin, dancers: Robert Curran, Lucinda Dunn, Lana Jones, Laura Tong)

(Petrouchka: choreography: Mikhail Fokine, music: Stravinsky, dancers: Daniel Gaudiello - Petrouchka, Gina Brescianini - Ballerina, Paul Knobloch - Moor, Damien Welch - Showman)

(Firebird: choreography: Graeme Murphy, music: Stravinsky, dancers: Lana Jones - Firebird, Kevin Jackson – Tsarevich, Danielle Rowe – Tsarevna, Chengwu Guo - Kostchei)

Opera Theatre, Sydney Opera House.

8^th April 2009

A well complimented trio. Curran is ideal as the partner and only male in the beautifully executed classical ballet of Les Syphides. By contrast Petrouchka emphasises character, the three puppets are delightfully brought to life. Firebird edges gently into a more contemporary style that whilst enjoyable might have benefited from more drama.

Welcome to the Sticks

Welcome to the Sticks (3.0/5)

(Bienvenue chez les Ch'tis)

Waiheke Island Community Cinema, Auckland, New Zealand.

6^th April 2009

(Director: Danny Boon. Stars: Kad Merad, Dany Boon, Zoe Felix)

Pleasant light comedy from France. The transfer of Merad’s post office manager from the desirable south of France to the cold north provides a pretext for Boon to mock the type of regional prejudices common in many countries. Superb subtitles fully exploit the Chitis (northern) dialect with great humour as touching relationships develop between the manager, his staff and his distant wife. The rustic venue strewn with sofas added to the evening’s charm.

The Cherry Orchard

The Cherry Orchard (1.5/5)

The Bridge Project

(Adapted by Tom Stoppard from Chekhov. Director: Sam Mendes. Sinead Cusack - Ranevaskaya, Simon Russell Beale – Lopakhin, Rebecca Hall – Varya, Ethan Hawke - Trofimov)
ASB Theatre, Aotea Centre, Auckland, New Zealand

04^th April 2009

A bridge too far. This production makes little of either the comedy nor the tragedy of aristocratic ineptitude. Problems abound, lack-lustre adaption and direction, uneven performances from the Anglo-American cast and a venue that is more concert hall then theatre. Cusack and Beale are admirable, though if the Bolshevik’s had all been as uninspiring as Hawke’s student then the revolutionaries would still be fretting on their next move. This worthy enterprise needs better suited material.

Grand Torino

Grand Torino (3.0/5)

Hoyts, Broadway, Sydney

13^th March 2009

(Director: Clint Eastwood. Cast: Clint Eastwood (Walt Kowalski), Bee Vang (Thao Vang Lor), Ahney Her (Sue Lor ), Christopher Carley (Fr Janovich))

An engrossingly sad film. Retired Korean veteran Kowalski faces widowhood and mortality as Asian migrants move into his neighbourhood. His adjustment to life and befriending and defence of harassed neighbours is touching if too quickly developed. Wonderful lingering cinematography is almost ruined by a few minutes of fast cutting. Outstanding performances by Eastwood and Bee Vang are sadly not matched by all the cast. Despite these weaknesses this is a thoughtful work.

ArtExpress

ArtExpress (2.5/5)

ARTEXPRESS showcases the most outstanding work from the previous year’s Higher School Certificate examination in NSW.

Art Gallery of New South Wales, Sydney

14^th February – 19^th April 2009

The subdued times in which we live are reflected in this year’s works; nonetheless the idealism of youth remains strong. Whilst sometimes naive to older viewers we all grew through such adolescent experimentation and is to be encouraged. The video art is particularly strong, see Emily Minard’s stylised video game and Christian Anstey’s slowly evolving colours. Amongst the traditional works Andrew Smith’s large street scene in heavy oils is rightly prominently hung in the entrance.

The Taming of the Shrew

The Taming of the Shrew (1.5/5)
Royal Shakespeare Company
(William Shakespeare. Director: Conall Morrison, Petruchio/Sly: Stephen Boxer, Katherina: Michelle Gomez)
Novello Theatre, London.
19th February 2009
Somewhat vulgar, unsubtle, version of Shakespeare’s comedy. Crude displays of lust and misogamy overwhelmed both comedy and irony in this tale of the perpetual battle of the sexes. Placing the Induction in a sex club with Sly as a pitiful customer diminished his reappearance as the scheming, manipulative Pretuchio capable of taming the shrew Katherina. Comedy requires timing, farce innuendo and politics irony – this production lacks such finesse.

Someone’s Universe

Someone’s Universe (3.0/5)

Eugene Carchesio

Queensland Art Gallery, Brisbane

27^th January 2009

Very gentle and intimate watercolours and small paper constructions. With an emphasis on animals and geometric shapes Carchesio’s work has a childlike simplicity that is very easy on the eye and mind. Below the surface deeper questions are asked - you can choose to go there or not. That this exhibition is so low impact is both to its credit and a shortcoming. You’ll come away relaxed though possibly not enlightened.

Old World/New World

Old World/New World (3.0/5)

Sydney Symphony

(Conductor: Richard Gill, Tenor: Roy Best [operettas], Violin: Dene Olding [Remote-Ecstatic-Remote])
The Domain, Sydney.

24^th January 2009

(Part 1: Jet-Stream [Stanhope], Lite Speed [Hindson], Elevator Music [Koehne], Remote-Ecstatic-Remote [Edwards], Cudmirrah Fanfare [Westlake], Colonial Song [Grainger].

Part 2: New World Symphony 1^st movement [Dovřák], three songs from operettas [Lehár], Symphony No.4 finale [Tchaikovsky], 1812 Overture [Tchaikovsky])

Gill’s enthusiasm for popularising classical music is to be applauded. Likewise the selection of lively and contemporary Australian composers for Part 1. Relying on old favourites of similar pomp for Part 2 was disappointing, though Best was enjoyable.

Large, free, community events are always welcome though being outdoors are subject to so many vagaries. A southerly wind froze us after a 40C day and the amplification lacked subtly on an otherwise a popular night.

The Tell-Tale Heart

The Tell-Tale Heart (2.5/5)

(Adapted and directed by Barrie Kosky [after Edgar Allan Poe] Performer: Martin Niedermair, Piano: Barrie Kosky)
CarriageWorks, Sydney.

22^nd January 2009

Dramatically subtle opening fade to black sets-up a sinister tale, bookended by a spine chilling closing tableau; in-between a masterpiece is trying to escape. The madness of Niedermair’s character established I found his monologue insufficiently descriptive to hold my attention. Exceptionally dramatic lighting plays with the shadows and eerily sculpts Niedermair’s pale features. Kosky’s piano builds to a thunderous ending.

Listen to your heart-beat as the lights go down a final time and be afraid.....

The Yalta Game

The Yalta Game (3.0/5)

Gate Festival Friel-Gate

(Adapted by Brian Friel from Chekhov’s “The Lady & The Lapdog”)
Parade Theatre, Sydney.

20^th January 2009

Friel’s wonderfully descriptive monologues paint the scene in Yalta allowing the two illicit lovers to inhabit an almost bare stage. The Irish lilt has a nice ring; at times one feels party to a private conversation over a pint of Guinness. Excepting the start and end when the link between audience and actor was not quite there. At 50 minutes, enjoy a glass of wine beforehand, a light super afterwards and have a pleasant evening.

Fantastic Planet with live soundtrack by Ben Walsh & The Orkestra of the Underground

Fantastic Planet with live soundtrack by Ben Walsh & The Orkestra of the Underground (2.0/5)

Darling Harbour, Sydney.

18^th January 2009

An animated world in which Oms (humans) are the toy-things of giant Draags. Attempting to exterminate wild Oms precipitates a kind of war and then peace breaks out. There is something deep about this film, though it verges on the dull in its ponderous, emotionally detached story telling. The Orkestra plays a fusion of experimental jazz, folk & world music that suits the film whilst somehow contriving to add little.

Lipsynch

Lipsynch (4.5/5)

Ex Machina/Théâtre Sans Frontières

(Director: Robert Lepage)
Theatre Royal, Sydney

17^th January 2009

Wow. Awesome. An epic episodic production of nine acts in eight hours. Nine acts, each tells an individual’s story, each is intimately and tangentially linked. Although largely one paced there are so many layers, so many intricacies, to hold one’s curiosity. The language, languages and soundtrack, the lighting and projections, the simple yet highly versatile set, combine to create a truly special theatre experience. Thought-provoking, how language is so central to our being.

Run Lola Run with live soundtrack by The Bays

Run Lola Run with live soundtrack by The Bays (2.5/5)

Darling Harbour, Sydney.

14^th January 2009

Intriguing German film offering three versions of the same tale – Lola’s 20 minute flight to deliver 1M Marks to save her criminally inept boyfriend. The Bays techno beat sat well with Lola on the run. But, was the whole greater than the parts? No, as much as The Bays were hypnotically engaging they took the easy route of laying their frantic beat over Lola’s run and falling silent during the film’s more subtle drama.

War of the Roses

War of the Roses (3.5/5, on reflection 4.0/5)

Sydney Theatre Company

(Director: Benedict Andrews)

Sydney Theatre

8^th & 10^th January 2009

Bloody, stripped bare production of Shakespeare’s two tetralogies:

Part 1 Act 1: Richard II

Part 1 Act 2: Henry IV parts 1 & 2, Henry V

Part 2 Act 1: Henry VI, parts 1,2 & 3

Part 2 Act 2: Richard III

Cate Blanchett (Richard II) and Robert Menzies (Bolingbroke) are outstanding in their malicious conflict for the Crown of England. Ninety minutes of gold flutter covers the cast in royal inscrutability. The telling of Henry’s IV & V is a little uneven starting with a drawn-out and challenging homosexual scene. The closing scenes are worth the wait - played solo in front of the curtain by a rotation of blooded King Henry V (Ewen Leslie) and chorus this tale of warfare is dramatically told.

Blood, blood and more blood sums up Henry VI’s story. A series of surtitled vignettes dramatically and, very importantly, clearly play out a succession of wars and assassinations. The gruesome quantities of blood are entirely appropriate, though the repeated delivery by one actor spraying a mouthful of blood at another becomes a little tired by the umpteenth death.

Our winter of discontent is swathed in another long, impressionistic flutter drop, this time of snow. The pace pick-ups nicely as we move into the young princes murder and the Battle of Bosworth. Richard III is played with convincing and increasing madness by Pamela Rabe, though the dialogue can be too fast as a substitute for anger.

Although occasionally uneven the 8 hours of this production pass quickly, which is surely indicative of a worthy final effort by the Actors Company.

[Since this is really 8 plays I’ve liberally interpreted the 75-word rule for this review.]