Tag: Carolyn Burns

REVIEW: Return Season of NORTH BY NORTHWEST

Seeking the adventure again

By Caitlin McGrane

The reimagined Hitchcock classic North by Northwest gets an excellent presentation at the Melbourne Arts Centre after its fantastically successful run in 2015.

North by Northwest 2.jpg

For those who don’t know, the story is that of Roger O. Thornhill (Matt Day), Madison Avenue advertising executive mistaken for the mysterious George Kaplan in The Plaza Hotel in New York; thus setting in motion a chain of events that takes Thornhill to the United Nations, Chicago, and Mount Rushmore. His partner in crime is Eve Kendall (Amber McMahon), an enigmatic femme fatale with whom Thornhill forms an instant connection on a train.

Writer Carolyn Burns and director Simon Phillips really have done a terrific job of bringing the classic film to the stage; Burns has successfully managed to tread the very fragile line between appreciating and replicating the original, especially given it is such a well-loved text. Hitchcock’s contemporality is appropriately heightened through clever direction from Phillips, so some of the uncomfortable and backwards politics of the 1950s can be seen through a modern lens.

The ensemble cast, comprised of Nicholas Bell, Ian Bliss, Lyall Brooks, Leon Cain, Sheridan Harbridge, Matt Hetherington, Tony Llewellyn-Jones, Gina Riley, Lucas Stibbard and Lachlan Woods are all clearly having a ball. Harbridge, Llewellyn Jones and Riley all delivered standout performances, providing just the right number of nods and winks to the audience and some truly excellent accents. It would perhaps have been nice to see more chemistry between the two leads, and it sometimes felt to me like McMahon’s Eve was not as self-assured as her silver screen counterpart. But these minor critiques did not hamper my enjoyment of their respective performances.

It would be extraordinarily remiss of me not to mention the exceptional creative work from the backstage team. Nick Schlieper’s lighting and set design were joyously clever and funny, Ian McDonald’s composition and sound design catapulted me back in time to my first screening of North by Northwest, while Josh and Jess Burns’ innovative and hilarious use of video really stole the show. I shall never see Mount Rushmore the same way ever again.

To have a bad time watching North by Northwest would be an extremely difficult thing, and while this may seem like damning with faint praise I really would be surprised if anyone came out of seeing this production feeling anything but contented. Sometimes what I need is a big sugary treat from the theatre, and North by Northwest delivered deliciously comforting familiarity in spades. This is the second time I’ve seen the production, and it is the combination of joy, self-awareness and fun that makes this such a pleasure to watch.

North by Northwest is now showing at The State Theatre at the Arts Centre until 13 February 2016. More information and tickets from: https://www.artscentremelbourne.com.au/whats-on/theatre-drama/north-by-northwest-2016

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REVIEW: MTC Presents LADIES IN BLACK

Sleek, stylish and utterly winning

By Caitlin McGrane

The lead-up to Ladies in Black has been, for me, quite mysterious. It is the creative brainchild of Carolyn Burns (North by Northwest) and Tim Finn, so my expectations were suitably high, particularly because the production is also directed by Simon Phillips (North by Northwest). During the interval of Ladies in Black I struggled to think whether I had ever seen an Australian musical – would Priscilla or Strictly Ballroom count? And generally speaking musicals aren’t my thing, but Ladies in Black was jolly good fun, uproariously funny, and most importantly melted my feminist heart.

Ladies in Black starring Kathryn McIntyre, Kate Cole, Christen O’Leary, Naomi Price, Lucy Maunder, Deidre Rubenstein, Carita Farrer Spencer.jpg

It is the gentle, uplifting coming-of-age story of Lisa (Sarah Morrison), a shy, bookish Sydney teenager in the 1950s and her job at Goodes’ department store. Her colleagues in cocktail frocks Fay (Naomi Price) and Patty (Lucy Maunder), along with the magnificent Magda (Christen O’Leary) and lovely Miss Jacobs (Deidre Rubenstein) softly introduce her to life in the adult world. Although excellently played by Morrison, I found Lisa was sometimes competing for stage space with other characters in ways that felt, to me, a little jarring. That is not to say that anyone or any scene was unnecessary, I think writer Carolyn Burns did an exceptional job of rounding out every character as much as she could, to me this seemed like the consequence of not wanting to leave anyone out because they were all so worth seeing. I particularly enjoyed the (wonderfully oft-repeated song) about men being bastards and the way in which it was the male characters that were sidelined and showed shame for their sexual appetites, neatly subverting historical convention and giving the play a truly modern edge.

My only reservations about the whole production are: I would have loved to see the New Year’s Eve party, and some lines from other scenes sometimes felt like unnecessary exposition. Even though O’Leary’s Magda was terrific rattling through the evening’s events at breakneck speed, I would have enjoyed seeing Lisa and Fay dancing; however, I appreciate that the focus of the play was the women, not their male beaus.
The play is beautifully staged, and the opening of the second act was a particular highlight. The band (Gerard Assi, David Hatch, Matt Hassall, Jo To and Paul Zabrowarny) playing the music (nicely visible behind the stage) were outstanding – each scene felt accompanied by the perfect jazz riff or subtle tinkling of atmospheric music.

Unsurprisingly the costumes (from designer Gabriela Tylesova) were breathtaking, and now I really want to own at least one cocktail frock. Lighting (designed by David Walters) was suitably impressive – moving seamlessly from snowy street to sunny beach to moody bar.

My usual aversion to musicals has been swiftly demolished by this beautiful performance: it was extremely difficult not to get caught up in the whimsical daydreams of all the characters, and I left feeling as though it was the first production I had seen in a long time that didn’t talk down to the audience and really relished in the shiny, glossy newness of a beautiful dress.

Ladies in Black is now playing at The Sumner Theatre at the Melbourne Theatre Company in Southbank until 27 February 2016. More information and tickets at: http://www.mtc.com.au/plays-and-tickets/season-2016/ladies-in-black

Image by Rob Maccoll

INTERVIEW: North By Northwest’s SIMON PHILLIPS and CAROLYN BURNS

Screen-to-stage hit returns, as creators share their insights with Theatre Press

By Caitlin McGrane

Simon Phillips and Carolyn Burns, the marvellous creative team behind Kay + McLean Productions’ outstanding production of North by Northwest graciously agreed to be interviewed by me over Skype. As the show returns at The Arts Centre for two weeks only from 29 January I was keen to know about how the production came together, what their creative processes had been and what their next project will be.

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Theatre Press: Can you tell me a little about the production process and what it was like working with the MTC?
Simon Phillips: Well, I used to run the MTC for so long, so I love the MTC and everyone’s my friend, you see…
Carolyn Burns: … Yes, they’re always very gracious about the demands…
SP: And it’s lovely working with the MTC because [North By Northwest] was quite a big project and they took it on with enthusiasm and they were such big supporters. And before that we’d actually had it developed: it had been commissioned by Andrew Kay in Brisbane while we were trying to get all the video concept to come together. We couldn’t really proceed with confidence until we had that sorted out, because so much of putting the production together was unproblematic, but that really was something we had to get right. We did a lot of development with QPAC (Queensland Performance Arts Centre) and then with the MTC itself.
TP: Yes I can imagine that must’ve been quite involved as a process.
CB: The workshop we did in Brisbane we only got up to the airplane scene. It was really about Simon getting the style right before I even started writing, in a way. Because I knew the work and had done a lot of studying and knew the angle I wanted to take, so until Simon worked with Audio/Visual Artist Josh Burns on how to do those scenes… Simon and Josh came up with some brilliant concepts – I think Josh came up with the Lazy Susan.
TP: Can you tell me a little about how you adapted the film for the stage? Did you use any footage of the film? And was it very hard to obtain the rights for that footage?
SP: Well we actually didn’t use any of the footage from the original film. Although one of the main issues we had, was that Mount Rushmore is a copyrighted image so we had to find a creative solution to incorporating that. I always think that if you’re going to adapt a film for the stage there has to be a point of difference because if you’re showing parts of the film on stage you’re essentially saying that the film is unadaptable.
CB: The only real difference was that I wanted to make a tribute to Rear Window, which is one of my favourite films. So, starting off the production looking into people’s windows and getting a slight hint on who they were and what they were doing. The mother playing cards, one of them cleaning the gun, and getting a feel of the spies.
TP: I feel like the script and the way that the play pans out is a tribute to Hitchcock in a lot of ways it incorporates a lot of his themes and his unique visions. Would you agree?
CB: Oh well, I would. I studied [North by Northwest] at film school when I was a student from an art-direction point of view; I did fall in love with his wonderful way of shotlisting, and his take on life and his subtexts, and his mad, mad mind. My job really was to assume that no-one in the audience had ever seen the film, so it could still tell the story if they hadn’t seen the film. And Simon’s was to do everything else; he created the most beautiful set design.
TP: Can you tell me a little about your creative vision? And do you think you were able to realise that vision?
SP: I know it sounds too easy but Liza McLean [from Kay and McLean Productions] said to us after it had opened that it had perfectly realised what we had described and how it was going to work. But it’s funny because I really had to work out the design in order to say with confidence ‘yes I have a way of staging this.’ Actually I only realised the other day when I came across some early sketches that it did go through a hell of a lot of permutations. The two most difficult scenes were the cropduster and Mount Rushmore, and it was those two scenes that we had to make sure we were on top of before we even started. And Carolyn was very interested in the East versus West thing, spy versus spy.
CB: Yes. my favourite line is the whole thing is when Roger, the Carey Grant figure, says ‘you’re as bad as each other.’ And I just thought ‘both countries’ and I think it’s still the same and it’s still completely relevant today, wouldn’t you?
TP: I would completely agree. One of the great things about Hitchcock is that he is so contemporary and still so relevant today. For instance Eve is given her own character arc, she’s not a femme fetale, she has her own character development.
SP: Oh yes and she’s incredibly witty and very contemporary, which is so great and she is much more than a match for [Roger].
CB: And it also shows the development of one of the original Mad Men [Roger] who starts shallow and ends up slightly deeper. I did really enjoy writing for the mother, and in doing so making [Roger] even more of a mummy’s boy. We’re very lucky that Gina Riley has taken on that role.
TP: I just have one final question, Carolyn you mentioned your time at film school, I was wondering if you could give me a brief overview of your journey to the stage.
CB: Well, because I spent a lot of my childhood reading I found that writing was something that came fairly naturally to me and when I was 9 I wrote my first musical. Then I began writing little pieces for the newspaper; I didn’t really begin writing properly until I went to university in Auckland with Simon, where I wrote my first adult play. I’ve had a very long and complicated journey and in some way it has been a sideline to bringing up four children. I learned from Alan Plater while I was at film school that there is a real art to adaptation. But this one, North by Northwest, is really all about the style. Simon and I haven’t worked together that much but it is lovely to work with him now.
TP: That’s wonderful, thank you very much for your time. Best of luck with the next run of North by Northwest and with the opening of Ladies in Black.

North by Northwest is showing at the Arts Centre in Melbourne from 29 January to 10 February 2016. For tickets and more information visit : https://www.artscentremelbourne.com.au/whats-on/theatre-drama/north-by-northwest-2016
Ladies in Black is showing at the Melbourne Theatre Company from 16 January to 27 February 2016. For tickets and more information visit: http://www.mtc.com.au/plays-and-tickets/season-2016/ladies-in-black/

REVIEW: MTC Presents NORTH BY NORTHWEST

MTC’s masterly salute to the master of suspense

By Rachel Holkner

How will they do the scene on Mount Rushmore? This has to be the question at the front of the mind of any audience member familiar with Alfred Hitchcock’s classic film North By Northwest. In this world premiere production by the Melbourne Theatre Company the film is adapted for the stage by Carolyn Burns in ingenious and highly entertaining ways.

North by Northwest

The story follow the trials of Roger Thornhill, a New York advertising man mistaken for a spy. Following leads and leading chases across several states on trains and planes, through hotels and auction house, Thornhill gradually uncovers a larger plot with higher stakes than a simple case of mistaken identity. High-paced action scenes are interspersed with romantic interludes, all peppered with witty dialogue. One of North By Northwest‘s main attractions: it doesn’t take itself too seriously.

More of a straight reenactment rather than a reimagining, director Simon Phillips‘ stage adaption sometimes holds a bit too tightly to the film. A few (very few) moments do not translate well, and might be a bit odd to anyone not familiar with Hitchcock’s work. Several characters are straight impersonations of the film’s actors, and this was to the play’s detriment. Occasionally it felt as though the actors did not have full ownership of their parts.

The cast of twelve do a spectacular job in taking on the work of a cast of thousands. With the aid of amazing costuming, wigs and headgear by costume designer Esther Marie Hayes it was easy to forget that the woman dining in the train had minutes ago been in a stand-up argument as Thornhill’s mother. Matt Day is excellent as Roger Thornhill, as was Amber McMahon as Eve Kendall, the femme fatale. Many other familiar names bring their strength to the production including Nicholas Bell, Tony Llewellyn-Jones, Deidre Rubenstein and Matt Hetherington. The entire cast deserves high praise for their faultless and energetic work.

However, the show-stealing performance, that which received the most spontaneous applause, laughs and gasps from the audience was the staging. An incredibly creative use of a massive rear-projection screen used with live-action miniatures brings the language of film right onto the stage. Complete with an opening credit sequence nod to the kinetic typography of Saul Bass (titles designer of many of Hitchcock’s films), no opportunity was lost to draw the audience into the play and into the manipulative world of 1950s America.

The audience shared in the glee of the cast as they interacted at frequent intervals with items key to the setting, whether writing notes, pouring drinks or driving tiny cars, these actions were projected to provide close-ups, midshots and moving backgrounds key to keeping the production as close to Hitchcock’s vision as possible. The iconic cropduster scene is gobsmackingly good, keeping us simultaneously on the edge of our seats and in fits of laughter.

I cannot know how much someone not familiar with the film would enjoy this production, however lines which I was merely nodding to as I recognised them, were getting genuine laughs from the audience which would indicate that there is enough clarity and freshness here for all. MTC’s North By Northwest is an amazing achievement. Hilarious, tense and dramatic at all the right moments. You won’t regret seeing this one, it’s sensational.

And as for Mount Rushmore? Well I can’t tell you. You simply wouldn’t believe me.

Venue: Playhouse, Arts Centre Melbourne
Season: Until 20 June 2015
Tickets: $51-$124
Bookings: http://www.artscentremelbourne.com.au