Apologies all – I was planning to get down and write about bunch of rather good shows I had seen over past few weeks. To have a clean slate by tonight, after which I am planning to cover more shows and better – yes I’ve said it a number of times. Got towalk the walk. Some of the responses are half done – I have put quite a few hours in but noting good enough yet to post. I still hope to put some comments up about these shows. Let me just run through them. 2012 STC Wharf Revue Red Wharf: Beyond the Rings of Satire (which I was going to call – taken from repertoire of Barry Humphries – The Cusp of Uranus. In a sentence, absolutely brilliant – so much so – while everybody laughed along jollily, it would have been easy to miss just how much combined creativtiy and craft had gone into this show. I will definitely get back to this because I have written a lot already and it merits being remembered.
The other shows were: Sex With Strangers at the STC Wharf 1 – a very accomplished piece of directing from Jocelyn Moorhouse. Also good script, acting, design – everything in order and high order at that. Between Two Waves , written by Ian Meadows (also in lead role) – a lovely piece and if not perfect, certainly an impressive effort from a writer (and actor) with a significant future. The Greening of Grace by another actor/writer (and director) this time William Zappa was less formally bold but achieved its goals easily. And from a personal perspective great to see my dear friend Maggie Blinco so skillfully embrace such a huge lead role. Both these plays, by the way, were in various ways connected to the issue of climate change. And IO must say I identified closely with the predicament of Meadow’s lead character – who in seeing what was likely to happen was rendered somewhat paralysed – unsure of which way to turn. Katie Pollock’s Blue Angel Hotel also had,many virtues and she, like Meadows has a big future. The three last cited plays – all new Australian works – were struggling to either fit within the confines of conventional realism (Ibsenesque) or not quite successfully trying to escape those strict Pythagorian rules. of craft. The one work that did succeed in throwing Ibsen out the window and with great success was Psycho Beach Party by New York loft comedian Charles Busch. It was a bit odd for the production to have access to so much room because my experience of Busch’s work in New York in the early 1980s was squeezed – the show and the audience – into his tiny down-town loft. But is was a nice change to see something that didn’t so obviously take itself seriously and also escape the assumed (and rarely discussed) prison of post-latte-realism.
I gotta get off here and have a rest before tonight. I had hoped to do more on this piece and add some colour and movement to the Kosky/Tartuffe post (thanks to Russsell Cheek). But that will all have to wait. I am on there job tonight and I need a short kip to be up for it.
Love yous all – see you next year!