Godspell is a musical about Jesus Christ teaching the word of God to a bunch of enthusiastic youths. But this Jesus? He’s ‘hip’. He’s ‘cool’. You may be able to tell that it’s not my favourite musical. It was an interesting choice for Newman to produce, as what seemed radical and refreshing in 1971 comes across as a bit cheesy today. Nonetheless, director Ryan Bentley worked … Continue reading Godspell: Dated but Energetic
With the usher holding one of my hands and my friend the other, I’m led, blindfolded into a room. With no idea what to expect, all I’m conscious of is that what I’m about to experience will be exactly that, an experience. Upon entering the performance space for The Apocalypse Tapes, you are given a blindfold each, and told you can take it off at … Continue reading The Apocalypse Tapes: Eyes Closed, Mind Open
Actor, director and playwright Adelaide Greig, talks about her upcoming Mudfest play, Adrift in My Ocean of Sugar Tears. Catchy Title! What is the significance of that image, being ‘Adrift in my Ocean of Sugar Tears’ for the play itself? I really struggled to settle on a name. ‘Adrift’ alludes to the hopelessness of Edna and Nora’s situation and sugar tears was inspired by my … Continue reading Talking Sugar Tears with Adelaide Greig
Exploding onto the stage in a flurry of cable knit sweaters, rockabilly dress, and vocal talent, Whitley Annual Residential Theatre Society’s (WARTS) production of Cry-Baby the Musical proved to be a fittingly jubilant and rabblerousing finale to the organised stage presence of Whitley College. Delivering a surplus of laughter, love, and catchy tunes, Cry-Baby both impressed and entertained. From the moment the curtains were drawn, … Continue reading Cry-Baby the Musical: Squeaky Clean
University College’s West Side Story is an ambitious production, taking on a musical that’s not just known for the tragedy of its finale, but also for its difficult dance sequences. While UC’s finished product may not be all that polished, it’s high in energy, and a largely enjoyable spectacle. Albert Elton was one of the show’s highlights as the male lead, Tony. Mixing boyish humour … Continue reading West Side Story: Energetically Tragic
“To walk on mirror water is to walk on sky.” Stepping into Union Theatre, I see a lake. Onstage. Filled with water and reflecting the stars from a screen that falls to the floor behind it. This is a recreation of Lake Tyrell, the subject of Mirror’s Edge, and it is breathtaking. Throughout the play the screen changes from stars, to clouds, to trees – … Continue reading ‘Reflecting’ on Mirror’s Edge
I had forgotten about this play until the morning of. Realising that my schedule was already tightly packed, I was on the verge of asking that someone else take my reviewer’s ticket. But something stopped me; perhaps it was the lake calling. Pardon the cliché. Should I have ignored the ‘call’, I would have made a terrible mistake. Mirror’s Edge is a must see. No, … Continue reading Mirror’s Edge: The Sky’s the Limit
Tech Rehearsal. Two words that will instantly strike fear into the hearts of anyone who’s ever been in, involved with, an observer of, or heard about a theatre show. Their very utterance recalls long-repressed memories of focusing lights, looping sound effects, set pieces and costumes going horribly wrong, and stage managers on the precipice of aneurysms. It’s the stage in a show’s production that is … Continue reading 10 Out of 12: Carefully Constructed Chaos
Union House Theatre’s upcoming production, Mirror’s Edge, is a new work by Kim Ho, which has been revised in collaboration with the cast and creative team throughout the rehearsal process. I sat down with three of the cast members, Jo Chen, Eden Gonfond and Rebecca Poynton, to talk about the show. What drew you to this play or this role? Eden: I was part of an … Continue reading Interview with the Cast of Mirror’s Edge
中华剧社的《今夜648》改编自90年代英国剧作家Ray Cooney的闹剧《乱套了》。来自对立党派的政府要员和秘书的风流韵事，随着配偶、酒店经理、一名闹腾的门童，和一具尸体的出现，变得越来越复杂。这本就复杂的情节，加上精心设计错综有致的舞台布景、道具、夸张的形体设计、不断变化的服装，最终，中华剧社这场喜剧从头至尾没有在任何一个环节中有所闪失。 对于一场成功的闹剧来说，毫无疑问，演员是重中之重，在全程都需要掐准笑点的节奏，并全程保持专注与精力。《今夜648》正是这样一出戏，在演出的3个小时中，让焦点和表演始终如一，贯穿全戏。喜剧线的每个包袱都抖落在恰好的节奏上，并伴随着全体演出人员完美配合的夸张形体表现。林子涵和秦清扬扮演的陈伟基和郝听话，两人之间产生出相应的火花，并在对手戏上完美配合。杨芃扮演的罗一情绪饱满并恰到好处，不断逗得观众大笑，但是又不至于太过。最后，不得不提的是，真正夺得全场瞩目的是路源扮演的门童18408，不断插入剧情，表现的有点懒惰，但又急着讨好旅客。在他的表演过程中，喜剧的节奏、面部表情都足以让他成为焦点，只要路源站在台上，就能收获观众的笑声。 由韩文希设计的舞台布景，固然够坚固，但是对于一个五星级大酒店来说，还是显得有些简陋。不过各方面配合得很好，包括通往主要表演场地的各扇门。特别是阳台的设计，在全程中都有适时落下的窗户。王芝设计的道具，可以说是锦上添花。整场制作很大程度上依赖着道具，突然落下关上的窗户，和不断自动打开的门牵制着场上的一举一动。而且，这些道具的使用上也看得出心思，或是给后面发生的故事埋下伏笔，或是给出观众线索，将零散的碎片拼凑，一点点看清故事的全貌。尽管这一切的一切，有很大机率会出错，但是在演出过程中并没有出现这些情况。这些对于整场戏的成功至关重要，道具组在这里功不可没。 由林煜设计的灯光，与整场戏的气氛相配。在一些喜剧效果的呈现上，灯光起着关键性作用，没有这些灯光，一些喜剧气氛也难以被烘托出。但有些地方的灯光变幻过于频繁，显得有些多余和做作，可能稍微克制一些会反而使效果更好。不过整体上，灯光对于这部戏来说，还是一个加分项。Hedy Sang的服装设计也相当出彩，一些细节的设计暗合了每个人的人物性格。整场戏上频繁更换服装，并没有差错。 到头来，以上这一切的发生，要归功于导演赵琰。《今夜648》的制作复杂，不管是台上还是台下，都需要高度注重细节。紧凑的故事情节，频繁的形体夸张演绎，不断变换的服装，对道具的重视与依赖，赵琰将整场戏的各个元素做到了很好的调和。整场戏没有任何部分感到不自然，即使是大段的台词和动作，同时出现，反而增添了真实感，并让戏看起来更滑稽。 《今夜648》是一部完美细致的剧作。导演的凝聚力，演员的专业和所展示出来的天赋，使这部喜剧让人印象深刻。《今夜648》注定让在场的观众都得以享受愉快。 Matilda Millar-Carton Translated by Azalea Huang, from Theatreshow.Melb 翻译：Azalea Huang（墨尔本好戏连台翻译员） Continue reading Room 648: Five Star Farce 今夜648 ——一场五星级的闹剧
The Dialog 