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Fringe 2010 Reviews (49)
The Leonardo Question
By Caroline Wiseman
Zoo Roxy.
(*)
The question seems to be, “who is the next Picasso?” Caroline Wiseman has attempted to create the question for discussion by making a theatre piece which involves some of the 20th Century’s most well known artists and supporters. The most intelligent question comes from a young man who happens to be wandering around the art in the Guggenheim Museum; is the best art that which sells for the most money? In other words, who defines art?
Ms Wiseman gives no credit to Peggy Guggenheim for having any artistic taste or sensibility of her own. And very little to Gertrude Stein who may be one of the most influential collectors of modern art. M. Wiseman reduces Guggenheim to a ditzy and unschooled collector, Gertrude Stein to a drag queen, Picasso to a dirty-old-man, Duchamp and Herbert Read to self-promoting pigs thus dismissing any of the true issues about the origin and evolution of art.
Ms Wiseman’s play is trite to the point of vacuous. That said, she has managed to acquire a talented cast that works hard to achieve the broad humour and caricatures as interpreted by director Anna Marsland. Ms Wiseman seems to be trying to open the discussion of modern art and make an amusing theatre piece and fails at both.
Catherine Lamm
House of Mirrors and Hearts
By Eamonn O’Dwyer & Robert Gilbert
Sell A Door
C Chambers Street.
**
The family of a mirror-maker struggles to survive after his rather bloody death. In this musical we witness the aftermath from the death, then jump ahead seven years. Anna, the surviving wife has taken in a boarder, Nathan who quickly establishes an enabler relationship with the mother and daughters, Laura and Lily.
The script has very much the feel of being a cut down version made to fit into the time constraints. The music feels like it is attempting Sondheim but never seems to get past a rather mournful and lacklustre theme. This musical feels unfinished and still needs lots of work.
The performers, Noa Bodner as the mother, Rachel Holbrook and Emily Sidonie as the daughters, Greg Herst as the boarder and Phillip Rowntree as the mystery character do journeymen’s work. Alex Sutton’s direction works beautifully within this utilitarian set.
Catherine Lamm
A Midsummer Night’s Dream
By William Shakespeare
Shed Theatre
C Chambers Street.
*
Midsummer Night’s Dream is probably Shakespeare’s most produced play, both with its original text and with tinkering; The Donkey Show and Midsummer Night’s Madness another one of this years offering at the C venue. Every school drama club, amateur and community theatre attempts the play for its universal and accessible theme.
This production does not rise above the amateur status. These actors are able to get the words out (mostly) so that we have an idea of what the plot is.
Director, Sue Cochrane, has not helped them find any of the subtlety, finesse or charm of the characters. There is much yelling and whining. Actors flail their hands and wander nervously around the stage until the bits of songs that have been staged; these are the best bits. There is a lot of “acting” going on here.
I would not want to discourage any of this group from going to drama school and training. And I wouldn’t want to divide the cast by mentioning the three who have the potential. One would hope that if Shed Theatre is to be of any help, even on a local level, they will develop an acting program.
Catherine Lamm
Story Shakespeare: King Lear
By William Shakespeare
Year Out Drama
C too.
**
This is what I would call CliffNotes for the stage. (CliffNotes provide the essential bits of literature for students). The program claims that this is Shakespeare best known, most presented tragedy. Lear’s downfall comes strictly at his own folly.
The King (the one with the cane) in his waning years decides to retire. But he wants the accolade that he feel due him from his three daughters. Two of them suck up and are given much; one decides not to play along and given nothing. Then he’s squeezed out with his anaemic retinue. I hope I’m not giving away the plot when I say that most of the characters are dead by the end; pay attention or you'll miss them.
This is savagely cut-down version of Shakespeare’s King Lear. They have dispensed with the subtleties; just the story, with songs added. Just stir and ... instant Shakespeare! Year Out Drama has two complete casts with the rotating group jumping in as chorus.
One of the things missing is the director's interpretation; is this the old-school, demonstrative Shakespeare or the more modern, introspective Shakespeare? The actors do yeoman’s work.
Catherine Lamm
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