No Plain Jane

Theatre reviews and musings (mostly) from Adelaide

Review: Bindjareb Pinjarra

Bindjareb Pinjarra

In 1834 in Pinjarra south of Perth, white Mounted Police carried out a deliberate and well planned attack on the local Nyoongar people. Armed with guns and with no warning, the white men easily outmatched the Indigenous people. This was seen to have been necessary action for the protection and claiming of the land for the white settlers. Bindjareb Pinjarra brings this story, often not spoken about, or whitewashed to the point of being explained away as a minor battle, to the stage.

The work spins together three stories – of the white European generals who instigated the massacre, a young man in contemporary Perth coming up against racism before finding out about his familial connections to Pinjarra, and a slightly confused story about a white man Daniel and two indigenous men presumably set in the 1800s – mostly confused because I couldn’t tell if Daniel was supposed to be a child or mentally impaired.

It’s most compelling, though, when the cast speak directly to the audience: of the white performers who weren’t taught about Indigenous history; of the Aboriginal performer who was told by his mother he could just tell people he was Greek; and an extract from A Short History of Western Australia – a book I sincerely hope has been pulled from school library bookshelves.

The company promotes the work as being “a comedy about a massacre” – and it is an interesting technique to tell a horrific story. The company does an admirable job of keeping the work connecting to the young audience through humour, while also carefully detailing the massacre, but too often the humour feels as if it is sitting apart from the work. It sits on top of the rest of the story; this uneven layer of humour to defuse the audience rarely feels integrated with the narrative.

Read the rest of this entry »

Review: The Moon’s a Balloon

TheMoonsABalloon

The propensity for children to believe in magic is marvelous. They watch theatre with a sense of wonderment, not trying to figure out the trickery or catch the misdirection, but content with a belief that what they’re watching is real. To create a sense of wonder and mysticism in The Moon’s a Balloon, though, Patch Theatre Company uses something better than magic: they use science.

In its most compelling scene, dancer Rob Griffin moves around a solitary balloon, with just enough helium that it lightly skims on the top of the ground. Griffin deftly moves his body around the balloon, and his manipulation of the air surrounding it causes the balloon to move and appear sentient, creating a enchanting duet.

With dancer Katrina Lazaroff, the pair play with balloons that have been weighted and would sit in the palm of your hand, and balloons that extend meters in diameter and softly repel against the ground before falling back to earth. They run with helium balloons, their strings pulled taught to appear solid. Strings are dislodged and balloons fly up into the rafters; weighted balloons fall back down to earth.

Firmly embedded in dance theatre, this textless physical work feels like significant new territory for the company, while still feeling very much of the repertoire. The work was collaboratively created by the dancers and the rest of the creative team, and Lazaroff has previously created dance work for children in Skip also being featured in this year’s Come Out Festival – and it’s exciting to see this audience for the form being engaged in Adelaide.

Read the rest of this entry »