No Plain Jane

Theatre reviews and musings (mostly) from Adelaide

Review: Harbinger

I’d been suffering with a fever and stomach bug the week before I saw Harbinger, and it was rather horrible, but coming in waves, so I started Harbinger okay.  It then hit me again towards the end of the play, so there was a portion which I struggled to absorb.  It then stuck around for most of the week after I saw the play, and when I finally thought I’d kicked it, it came back while I was writing this review.   I apologise in advance for the level of delirium this was written in.

The Harbinger promo flyer

A short re-enactment, detailing where the marketing for Harbinger came from (in a way which actually, I am informed my Matt Whittet in the comments, is not the way marketing happens at all.  Life is so much funnier in my own head!)

In 2009

Sean Riley: “Look, I’m really sorry Chris, I know I said I would have Skip Miller’s Hit Songs for you, but it just isn’t going to be ready by next year’s season.  Do you think I could have some extra time?  Just until 2011.”

Chris Drummond:  “That will be fine, Sean.  We’ll find someone else to write a play really really quickly.”

Back in the Brink office

Drummond:  “Who do you think we can get?  That Whittet kid, he’s writing something for that Windmill lot, isn’t he?  If we overlap their season with our rehearsal period, we wouldn’t even need to pay for his accommodation to be in Adelaide or anything.  And Windmill always gets good reviews, so we can surely sell some tickets off that!”

He calls Whittet.

Drummond: “Matthew!  Look, we’re not going to get this play we’re supposed to show next year ready in time.  I know we usually go through a long and exacting development process, but you can write us up something really quickly, yes?”

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Review: Sex, Death, and a Cup of Tea

Sex, Death, and a Cup of Tea from the Tasmanian Theatre Company, is ultimately a night of four underdeveloped short plays, painting a very bleak painting of Tasmania. While steaming off a nice idea: sending four playwrights to live in and write about four Tasmanian communities, the resulting scripts particularly lacking in key details of setting and relationship, along with a lack of finer attention to details. On stage, they also suffered from this lack of attention to presentational details (the audience should never be distracted by an unswept stage or an unremoved price tag), and a lack of clarity in direction by Robert Jarman.

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