Tag: John Collopy

Review: Slut

Pertinent and permeating progressive perfection

By Owen James

Witnessing an ensemble of collaborators and performers so in tune with each other, as well as in tune with the message and tone of the work they are presenting, is a rarity. Slut is a powerful dissection of the tangible inner conflict imposed on women making their journey from childhood to adulthood; and this is a production that for me comes close to perfection.

Patricia Cornelius’ exemplary yet disconcerting script was first performed in 2007, and as director Rachel Baring notes in the programme, “it is really hard when you take a piece from 2007 and it is just as relevant now as when it was written”. Baring has taken the raw, exposing elements inherent in Cornelius’ work, and turned the flame to high. Presented in the insanely intimate Fitzroy space ‘The Burrow’ (journey down a laneway off Brunswick Street to find a very cozy black box seating only 25), these feminist depositions are brutally honest and grippingly confronting. Baring ensures the dialogue and impressively rapid-fire choreographed movement are always as perturbing as the claustrophobic space these oppressed performers are unnaturally confined within. Lighting and sound design by John Collopy and Daniella Esposito respectively is exquisite, enhancing the text and direction at every turn.

The majority of dialogue is shared by a narrative triad composed of Lauren Mass, Jessica Tanner and Michaela Bedel. So impeccable is the timing and communal commitment to concentration shared by these three that we are transfixed with every word and gesture. Laura Jane Turner plays social renegade Lolita (named for the connotative qualities title “Lolita” recalls), and fearlessly delivers much of her exposition with disturbing composure mere centimetres away from audience members. This perfectly-matched company of four are of such high calibre I could happily have sat there fully engaged for hours.

A 30-minute show for almost $30 is a hard sell in our relentless economy where getting bang for your backbreaking buck is not only expected but necessary. But I’m here to tell you your spent dollars will be bereft of regret thanks to the dedication and expertise of these creatives. Slut is everything great theatre should be – urgent, relevant, and a good story well told; and proves how access to only limited resources is no obstacle to talented theatre-makers.

Don’t miss Slut, a powerhouse rollercoaster that propels itself forward with turbulent momentum at every turn, and will leave you simultaneously thrilled and terrified.

Running until March 21: https://www.trybooking.com/book/event?eid=586996

Photograph courtesy of Michaela Bedel.

Q44 Theatre Presents NK: A KAZANTZAKIAN MONTAGE

A valiant effort to portray a remarkable man

By Myron My

Cretan writer and philosopher Nikos Kazantzakis is perhaps most well-known for his two novels Zorba the Greek and The Last Temptation of Christ, and his epic poem The Odyssey: A Modern Sequel. However, Kazantzakis also led a life of adventure, passion and exploration and in Howard F. Dossor’s NK: A Kazantzakian Montage, important and life-changing moments from his personal story are presented and examined.

NK A Kazantzakian Montage.jpg

The story is told with the aid of a Greek Chorus that gives life to Kazantzakis’ stories, and allows the impressive nine performers (Elyssia Koulouris, Erin Marshall, Kostas Illias, Nicole Coombs, Paul Pellegrino, Sebastian Gunner, Tabitha Veness, Tania Knight, Will Atkinson) to easily switch in and out of the Chorus to become a person from Kazantzakis’ life. Alex Tsitsopoulos as Kazantzakis displays an sound understanding of who this writer was, and delivers a thoughtful performance. However, the production falls into the trap of having Kazantzakis explaining how certain experiences made him feel and what they meant to him, rather than showing us why these moments were important. This resulted in long monologues with less impact, particularly evident in the final scene with the Chorus that had the potential to be a climatic moment and bring this unique life’s story full circle.

While it is an ambitious task to condense seventy-four years into a two-hour show, it felt overall that the work was trying to depict too much, and therefore momentous events Kazantzakis’ life were merely skimmed. His first marriage, which lasted for 15 years, was over within minutes in the show, and his exploration of the monasteries of Mount Athos with his friend and poet, Angelos Sikelianos, while creating some great visuals and certainly marked as an important experience for him, was not given the time that it seemed to warrant.

The live music by Pantelis Krestas and his bouzouki and the sound design by Justin Gardham work well together in creating an authentic Greek ambience – along with some enthusiastic clapping from the audience – and also in bringing out the emotional layers of the story. John Collopy‘s lighting design creates the ambience for each scene and highlights the intensity of Kazantzakis’ emotions. Suzanne Heywood‘s direction utilises the space creatively and through minimal use of props and positioning of the performers is able to set up some visually arresting moments, including the earlier mentioned scene at Mount Athos.

NK: A Kazantzakian Montage is a look at the political, philosophical and intimate nature of a man who never stopped asking questions about life. While it’s great to see Q44 Theatre stepping outside of their familiar repertoire with this form of story and storytelling, the reliance on lengthy exposition and the structure of this narrative unfortunately never allows the audience to profoundly understand and become familiar with Nikos Kazantzakis.

NK: A Kazantzakian Montage was performed at Gasworks Arts Park between 14 – 17 November 2017.

Image by John Collopy

Q44 Theatre Presents SHINING CITY

Poignant and powerful

By Myron My

The effects of grief and guilt are hauntingly explored in Q44 Theatre‘s latest production of Conor McPherson’s Shining City.

Shining City.jpg

Set in Dublin, the story revolves around a therapist and his patient, each with his own set of demons to face, and it is another example of the exemplary work on which this theatre company is building its reputation.

Anthony Scundi is exceptional as Ian, an ex-priest struggling with his loss of faith who has just opened up a therapy clinic. While initially coming across as someone who has his life in order, the ensuing scenes paint a picture of a man who is gradually unraveling. Scundi is well-paired with Sebastian Gunner as John, his new patient and the rapport they share feels genuine. Gunner nails a lengthy monologue that requires him to find the right balance of a range of emotions as he recount the events leading up to the death of his wife.

Madeline Claire French as Ian’s wife Neasa, and Nick Cain as Laurence, deliver some strong work in their short but pivotal scenes in Shining City. The chemistry shared between Cain and Scundi in their scene is palpable, and Gabriella Rose-Carter‘s intimate direction clearly conveys Ian’s confusion and helplessness. This results in the most engrossing and intense scene of the play, and keep the audience guessing as to what is going to happen next and how the events are going to play out.

Rose-Carter once again creates engaging and captivating work from her actors, allowing them to embody their characters, and the interludes she instigates between the scenes are well-executed. There is no sense of time or being rushed during the show and Rose-Carter allows things to linger, so that we can interpret them as we like.

The scenic design by Casey-Scott Corless and construction by John Byrne functions as a great metaphor on our attempts to keep our true thoughts and feelings buried, and exposes a duality in our efforts to present ourselves as someone we feel we ought to be. This is supported by the subtle yet effective lighting design by John Collopy that really pushes the claustrophobia in the play.

Shining City is not just a play about John and Ian, but also Neasa and Laurence, and even then it’s about something bigger. It’s about people who are confused and have lost their way, and are doing whatever it is they can to do better – to be better. While set in Dublin, this could easily be any one of us in these characters’ shoes. It’s a lingering and thought-inducing show on people’s struggle to find meaning and connection in the world in which they live.

Venue: Q44 Theatre, 550 Swan St, Richmond

Season: Until 27 November | Wed- Sat 7:30pm, Sun 6:00pm

Tickets: $35 Full | $30 Conc

Bookings:Q44 Theatre