DITCH @ Limelight on Oxford, dissected by Marina

DITCH tells the story of the apocalypse in action; no sudden earthly disaster, but instead a slow rolling, persistent flood that chokes the life from all things thriving. Although Beth Steel’s debut play premiered nine years ago, Dream Plane Productions argues that its themes are still relevant, as sources suggest the current state of the world, both politically and environmentally, is “not good”. Ultimately, while Steel’s writing begins to disappoint in the second half of the play, the cast maintains an excellent performance that keeps you in your seat.

Where DITCH shines in the depth of Steel’s characters, who express such a genuine desire for hope despite their bleak reality. The cast are all stunning in their respective roles – not just due to their ability to keep up heavy Scottish accents for two hours (with help from dialect coach Gavin Leahy) – but also in their depiction of the crudeness of the residents of the security outpost they inhabit; a performance they collectively balance with a humanity that comes through in the play’s rare comedic moments. Notably, Giles Gartrell-Mills excels in his portrayal of the abrasive soldier Turner, bringing to life a believably complex character who takes a nationalistic pride in his work of finding escaping “illegals”, yet dreams of fleeing to an abandoned farm property himself.

Where the play also stands out is its mesmerizing reality – director Kim Hardwick stretches the bounds of Limelight’s cozy upstairs theatre to great effect with aid from Victor Kalka's set design, utilizing the small stage to its capacity. This works flawlessly in tandem with Martin Kinnane’s lighting design; light shines from the backstage corridor to silhouette the monstrous figure in Bug’s dreams, while Megan’s shadow is seen skinning a deer behind curtains in another scene. The final image of light illuminating a plant sprouting from the dirt is especially impactful as a symbol of hope (despite, spoiler alert, the tragic end that befalls the characters).

However, the second half of the production seems confused at best, mixing impressive monologues with scenes that were downright uncomfortable to watch. Burns (Laurence Coy) and Mrs Peel’s (Fiona Press) developing relationship, promised as a heart-warming depiction of “two old souls trying to find some peace”, instead confuses the audience as it is built on the same misogynistic foundations seen in mainstream Hollywood media – the man chasing the resistant woman who eventually ‘gives in’ to his advances with a background of blurry consent constantly present. It leaves us unsure of whether or not this is truly a representation of humanity shining through desperate times, when the romance is so uncomfortably depicted. Moreover, the symbolism of life-amongst-death evoked when Megan’s pregnancy is revealed appears gratuitous and unnecessary, as Steel has already committed to using the plants in Mrs Peel’s vegetable plots to illustrate the same concept; ultimately becoming irrelevant by the penultimate scene of the play.

Significantly, the most shocking scene was the depiction of Megan’s near sexual assault. When watching a play – or any media, really – that features sexual assault (even attempted sexual assault in this case), my reaction is to always ask: is this necessary? If the scene(s) had been excluded, would it significantly affect the plot and/or themes? In DITCH, unfortunately, the answer is no. The scene of Megan’s near sexual assault by Turner (Giles Gartrell-Mills) does no value to either character: it demeans Megan into a victimized woman who asks Turner to “stay” despite her obvious fear and contributes nothing to deepen Turner’s own complex characterization. All too often Steel’s writing in the second half defaults to cheap shock value to evoke emotion – while we should be shocked at the cruelties humanity is inherently capable of, Steel limits this by having her actors resort to loud shouting in order to create impactful moments (particularly Turner, who is victim to so many shouted lines you feel both impressed by and sorry for Gartrell-Mills’ voice). The writing wavers in the second half primarily due to the fact that it must measure up to the first half, which sets a standard that is unable to be maintained.

In the end, Hardwick’s production is enjoyable largely due to the work of the cast and production crew, rather than the plot of the play itself. Nonetheless, DITCH provides a haunting look into what could be waiting in store for us, far into the future.

Barbara and the Camp Dogs @ Belvoir, dissected by Matt

There are some shows that take your breath away. Between laughter and a few sneaky tears, I’m not sure I had any left after watching Belvoir's Barbara and the Camp Dogs. Truly, I haven’t for a long time seen a show where I felt so engaged and connected.

Barbara and the Camp Dogs is a musical with as much power as theatre can have. Indeed, partly what makes this show so special is that it lacks the monotonous sentimentality that musicals often embrace. It follows Barbara (Ursula Yovich), an Australian Indigenous singer and her journey with her ‘sister’ René (Elaine Crombie) to their hometown, Katherine. There, she is shaken by past and present trauma in a raw and compelling set of events not alien to the experiences of many Indigenous Australians. There were references to the Stolen Generation, the Don Dale Detention Centre and engrained institutional structures in Australia. The suspense and tension, palpable throughout, make this performance a heartfelt telling of an established experience that cuts deep. For many, it will not be the easiest thing to watch - but for those willing to embrace it, it does great honour to our evolving Australian narrative.

Some pieces of theatre often do well being read about, but this is undoubtedly one you need to see to get its full impact. Why? You know that this isn’t just the story of Barbara and René. It’s a story felt by many Indigenous Australians, which is performed with such integrity by the all-Indigenous cast that it brings an original perspective to a highly-discussed part of our history.

On that note, the casting was excellent. Yovich, as the show’s lead actress and co-writer, puts on a breathtaking performance as Barbara, the synergy between her acting and singing flawless. The same can be said for Crombie’s stunning supporting performance. There is such a great authentic chemistry between these two performers; whether it be the combination of their sass and witty banter, or their riveting screaming matches, we are constantly kept on the edge of our seats. The songs, written by Yovich, Alana Valentine, and Adm Ventoura, were real bangers, with a great variety of music that really helped ground such an ambitious piece, aided by some very talented musicians.

It must be said, though, that many stories that have an authenticity like this one does can often suffer from an ill-defined narrative. However, I’m glad to say this was not the case here. The narrative arc was well defined and the pacing of the story was excellent, leaving the audience enough time to dwell on the substance of what had happened but not leaving too much as to potentially lose us. It allowed the tension to viscerally linger, adding to the power of the piece. As if they didn’t have enough commendation, Yovich and Valentine deserve even more for writing such a unique and well-crafted piece that sets itself above so many others of its kind.

Ultimately, I was very glad to hear that they have been touring Australia with this production; it’s a musical that needs to be seen by Australians for its great contribution to our collective story. I was thoroughly moved by this spellbinding performance. Everyone involved deserves congratulations for what they have created: a heartfelt piece that breaks the barriers of genre and storytelling.

The Last Five Years @ Ensemble Theatre, dissected by me

To be frank, I have no idea how Ensemble is going to get through the next month. Two shows running concurrently in that mid-sized theatre? Already having one sell out completely, and staring down the barrel of having the other follow suit? Three performances a day, with the first starting at the ungodly hour of 11am?

If you unfortunately missed out on getting tickets to The Appleton Ladies' Potato Race, or share in my astoundment over the very idea of a show taking place before the middle of the day, don't worry. The Last Five Years is a just-as-strong follow-up that, for now, still has afternoon and evening tickets available for you 9-to-5 can't-negative-gear-when-your-bank-balance-is-also-negative theatregoers.

Having been everywhere from Off-Broadway to Barcelona, Ensemble manages to bring much of the musical's original magic to their lower North Shore stage. Taking us on a 90-minute journey through the married life of unsuccessful acting hopeful Cathy Hiatt (Elise McCann) and more successful author Jamie Wellerstein (Christian Charisiou), there is rarely a moment when the show falters. Though it takes some time to understand that Cathy's story is told in reverse chronological order, starting at the breakdown of her marriage and working backward, whereas Jamie's is told from their first time seeing each other onward, as soon as one recognises this the musical really hits its stride.

The ultimate strength of the show is the fact that there is no clear standout between McCann and Charisiou. McCann, undoubtedly the more experienced of the pair, uses all her theatre knowledge to approach the deceptively complex role of Cathy with great effect. Of her musical numbers, one should keenly anticipate 'A Summer in Ohio' and 'Climbing Uphill/Audition Sequence'; as a demonstration of her all-round singing, acting and comedic abilities, these songs have to be highlighted. Charisiou matches McCann's energy to deliver a performance he should be proud of; though the tribulations his character goes through as his career takes off are usually (but not always) expressed to their full effect (though through no major fault of his own), his skill in quickly jumping from emotion to emotion and beautifully-performed songs more than make up for this. Of his musical numbers, 'Shiksa Goddess' and 'The Schmuel Song' are what audiences should look out for. Together, the two share an unusual onstage chemistry that, even though they rarely interact with one another directly, still somehow makes for a cohesive performance of Jason Robert Brown's script. Compliments to Daryl Wallis for his musical direction and live musical performance too - perched high up to the right of theatre, he methodically works his way through the musical's score in a performance that should not go under-recognised or under-valued.

With that being said, the performance's only notable weak point is something the team can't control at all - the size of the stage. In a musical where two stories are told simultaneously, Director Elsie Edgerton-Till has to work with the rather confined Ensemble stage to tell these (which is all the more difficult due to the fact both stories rarely overlap). Because of this, it can be challenging to personally imagine the physical separation between McCann and Charisiou necessary to individualise their journeys. To Edgerton-Till's credit, the implementation of a revolving mechanism (allowing a small part of upstage right and downstage left to oscillate) was a creative approach to this issue. Yet, I don't think a solution to limit McCann and Charisiou's physical proximity really exists. It's a noticeable (albeit unintended) shortcoming in the musical, but luckily there's more than enough enjoyable moments to overlook it.

Ultimately, grab a ticket or two before this show sells out. It's worth it.

The Appleton Ladies' Potato Race @ Ensemble Theatre, dissected by me

Like I've experienced a few times in my short journalistic career, Ensemble Theatre's The Appleton Ladies' Potato Race is a show that I must review with a grain of salt. Weary of the fact I'm not female, nor from a regional area, a play that exclusively focuses on the female gaze and the gender politics of a small country town makes me something like the Bess Denyar of a real-life Upper Middle Bogan - high-paying job, bearded Aussie husband, and twin boys aside (last time I checked at least).

Luckily, even with that being the case, there's still a whole lot to enjoy in Ensemble's latest 90-minute spectacle.

The beauty of playwright Melanie Tait's script is its creation of characters that can resonate with the audience on both an individual and collective level, closing the gender, age and location-based gaps one could reasonably expect between a play of this nature and a lower North Shore demographic. For the older members of the audience, there's the dominant Bev Armstrong (Valerie Bader) and the submissive Barb Ling (Merridy Eastman), an odd couple-esque duo and the Appleton locals least willing to change the 30-year-old race. For the parents, there's Nikki Armstrong (Amber McMahon), the local longtime champion of the potato race and the mum who yells as the teenage Saturday sport referee, asks to speak to the manager, and probably has kids named Jaxxon and Keightlynn. Alongside the misunderstood and racially discriminated migrant Rania Hamid (Sapidah Kian), those born and raised in the city will find the main character Penny Anderson (Sharon Millerchip) a hit way too close to home in her highly progressive, highly educated, and at times highly annoying nature as she tries to provide equal prize money to the male and female winners of the potato race. Together, this quintet manage to draw on their differences to tell Tait's story exactly the way it was supposed to be told, with their ensemble work the show's biggest strength and a further credit to Priscilla Jackman's already well-known directorial skill.

On an individual level, the performances are a little more mixed. In a play that is intended to be both comedic and affirming of the strength of women, much of the latter is left to Eastman, Millerchip and Kian, who struggle to reconcile the demands of this with the comedy they also have to provide. Of these three, it is Eastman's character development, one of the play's most important, that is the most sudden (and therefore the least impactful); if we were given adequate time to reflect on this development like we are that of the other characters, whose moments of reflection bring about well-orchestrated pauses in comedic action, then the play's themes would resonate more strongly. Khan, even though taking on the play's smallest role, manages to have a strong stage presence, providing a unique perspective on the play's central themes that just avoids being cliché. Millerchip and McMahon - the former of which could be considered something of a white saviour; make of that what you will - hardly ever drop from the high bar they set themselves and deserve acclaim for their comedic performances, which includes a knockout dance routine in an 80s flashback scene. It must be said, though, that the real delight of the show is Bader. Don't ask me why, but there's something about watching old people interact with technology that never ceases to be funny. Yet, even when she's not talking about 'The Facebook', the clear attention she has paid to the character and innate understanding of how an individual deals with unprecedented social change makes her the unexpected pick of the cast.

Couple the existing merits of the performance with a banging Tegan Nicholls soundtrack (which, obviously, features Hot Potato) and an inventive Michael Scott-Mitchell set design (albeit only noticeable around the end of the play) and, as usual, I'm continually impressed with Ensemble's attention to detail.

Ultimately, even though there might be a development or two missing, the comedic strength of TALPR's team makes the show worth watching. It'll be interesting to see how this fares alongside Ensemble's immediate follow-up The Last Five Years, but in any case, Appleton should be the next stop on your theatrical road trip.

Once in Royal David's City @ New Theatre, dissected by Matt

Love it or hate it, Christmas is a time of great emotion. For many, it is a time of love, merriment and mirth. I myself love a good Christmas complete with ham and a big slice of pavlova. It was the use of Christmas, capitalising on that indescribable set of feelings that made Michael Gow’s Once in Royal David’s City by the New Theatre a real cracker.

The play follows the life of Will Drummond (Fernando Lopez), a young man of the theatre and unabashed Marxist. It follows snippets from an early childhood mishap at Bondi Beach to his self-described ‘German phase’. The primary focus, however, is on one particularly tumultuous Christmas, where Will is forced to confront his relationship with mortality and becoming a mature autonomous individual. It’s my belief that this could have been a very complicated play if Christmas was not used to ground the emotionality that came with Will’s personal upheaval. As you can tell from the title of the play, and the number of times I’ve referenced it in this review, Christmas was fundamentally woven into the fabric of this story. I’ll never forget the duality between the pure voice of a choir boy singing the traditional Christmas hymn ‘Once in Royal David’s City’ embodying the true warmth of Christmas and Will desperately slagging it off as being sung by the ‘toffee-nosed’ establishment during his time of crisis. In some ways, this version of a more traditional Christmas felt a little foreign despite having been written by an Australian playwright. However, I found it satisfyingly profound and without a doubt added that hauntingly beautiful element to it.

The play was generally well executed by Director Patrick Howard. Indeed, there were at a few moments in the play when you could genuinely hear a pin drop. My inclination, however, is that while the play had some really amazing moments, there were others where I was left feeling a little underwhelmed. I could feel the sense of awkwardness in enacting a very different experience of Christmas as both a very unhappy experience and having to utilise largely foreign elements to an Australian Christmas. This led to what felt like an occasional emotion translation issue. Lopez’s performance was very good; the rebellious and that coming-of-age aspects were well engaged with, however, I would have liked to have seen him saturate the role a little bit more in responding more engagingly (in Will’s own way) to the elements given from this more alien form of Christmas which is at the very heart of the play. The performance by Alice Livingstone as Jeannie, Will's mum, was excellent; I felt a genuine engagement with these themes.

This play offers true warmth and a sense of the kind of redemption that can symbolically be found around Christmas time, even if the protagonist isn’t willing to openly admit it. Often in plays I’m left unhappy by the way it eventually wraps up, but in this case, I was left feeling pretty satisfied. There was a reality and truth behind the development of Will come the end of the play that felt refreshingly authentic having still remained true to himself yet changed. I couldn’t help but be left a bit giddy from the very Brechtian ending which epitomised Will’s authentic self. Ultimately, I thoroughly enjoyed it. It is difficult to find a play at the New Theatre that is hard to enjoy. I congratulate the director, cast and creative team on a strong execution of a fantastic play.