No Plain Jane

Theatre reviews and musings (mostly) from Adelaide

Tag: 5pound theatre

On classic texts and single gender casts

Among several themes circling around Australian theatre at the moment, two that are particularly prominent and I’ve written about recently, are the adaptation of classical texts, and works exploring gender theory and sexuality. These works exist on mainstages with thousand seat theatres and in independently funded productions in backyard sheds. There is a dialogue existing between these works: the voices of independent companies rising to and becoming embedded with major funded organisations, and then new, younger independent theatre makers seeing this conversation and again playing with it themselves: be that with themes of gender, classics or, increasingly, both.

In the last eight months I’ve made particular note of three theatrical works from independent companies that combine both of these themes using single gendered casts. From Sydney’s US-A-UMThe Lord of the Flies; from Adelaide’s Foul PlayMacbeth; and from Melbourne’s 5Pound TheatreUbu Roi. These three companies place different emphasis on their solo-gendered casts with these old and familiar texts, and each come out with a drastically different message on gender with varying levels of success.

The work that has laid most heavily on my mind, and became the catalyst for writing about these three works is this unsuccessful Macbeth, under the direction of Yasmin Gurreeboo. Staged in warehouse space in the Adelaide suburb of Bowden, Gurreeboo asks her audience to sit through her production twice: once with an all female cast, and then repeated with an all male cast. The text, cut down to eighty minutes with a seemingly endless list of dramaturgs credited in the program, starts with ‘is this a dagger which I see before me, the dagger towards my hand?’, and is a confused edit playing with time and space that places Macbeth in a prison, seemingly recounting the events which lead him there with cast members doubling between characters in the prison and characters in the original story, with no obvious logic to when they are playing each.

Foul Play's Macbeth. Photo by Manda Webber.

Foul Play’s Macbeth. Photo by Manda Webber.

Foul Play’s goal with this production, confusion in text aside, was to have the audience question how they perceive the story of Macbeth and the violence which is inherent in Shakespeare’s story when they view these actions performed by a man against performed by a woman. “I want to offer an audience the opportunity to be in a position to face their own prejudices head on by seeing the same roles, in the same production played out by a males and females,” Gurreeboo writes in her director’s statement. Unfortunately, Gurreeboo and her cast fail to escape the ideas and constructs of gender as written into the original characters, and so these prejudices can never be accessed by her audience. 

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AdlFringe Review: The Blue Room

David Hare’s The Blue Room is typically produced as a star vehicle. Over ninety minutes we follow two actors portray five women and five men through ten relationships. Each scene takes a character from the scene before, and then passes the new character onto the scene after – a Chinese Whispers of sex. Here, instead of the big name stars, 5pound theatre have given these roles to young Melbourne actors Kaitlyn Clare and Zak Zavod.

For their Adelaide season, director Jason Cavanagh has staged the work in clothing store Urban Spaceman Vintage, and for the most part this works greatly to the advantage of the play. Costume changes hang on the clothing racks alongside the clothes for sale; posters, chairs, a keyboard, brandy glasses all seem at home in the space, and at a glance it’s largely impossible to tease out what exists organically and what has been placed their for the production. In three scenes, the audience is asked to stand and move to a different part of the space – which can lead to some awkward wrangling and sightlines, but brings out the versatility of this found space.

The unfortunate side effect of being in this space, however, is how much it ages Hare’s text. I was genuinely surprised to realise the play was written in 1998 when I sat down to reference it for this review: from this production I would have dated it in the 80s. When I had this assumption, placing the play in this space gave the text more sense: our lives are filled with the objects of generations gone past. I arrived at the show in my 60s sundress on my 70s bicycle*, and to tease life into the clothing and bric-a-brac in vintage shops by placing a work of theatre in their added so much to both the production and to the location. But this was when I was watching thinking I was being told a story from 30 years ago, not 15, and now I don’t quite know how to reconcile those emotions towards the work.

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