Hand To God, Everyman Theatre, ACT Hub, 10-20 December

 

Photo: Janelle McMenamin and Michael Moore

Three years after the previous production and the different Old Fitz production, Tyrone the puppet and his victim/handler Jason are back for an exploration of trauma, religion, lust and felt in a play with something to offend pretty much anyone. With either 4/5 or 4/6s (depending on whether you count Tyrone and Jason as separate people) of the cast all new, it's a refreshed production where the desperation and trauma are close to the surface in ways that push the comedy further. Michael Cooper's performance is still just as grounding between the shy, retiring Jason and the confident, agressive Tyrone (and just as committed in ways that I hope aren't permanently physically damaging), and it's joined by Amy Kowalczuk embracing the chance to let all her crazy hang out as his mother, Meaghan Stewart being grounded, warm and, when required, just as deeply nuts as his friend Jessica, William "Wally" Allington showing the blossoming of teen rebel Timmy as he gets all kinds of wrong attention, and Lachlan Ruffy being all the right kinds of deeply wrong as the not-very-successsfully-hiding-his-attentions Pastor Greg. 

Jarrad West restages the work with his usual precision, care and willingness to let any joke no matter how obscure hit the target. Nathan Sciberras' lighting design lets the moods shift as the show tips deeper into insanity and Nikki Fitzgerald's sound design gets us in the mood of a small-town puppet ministry and lets the demons flow out when they get loose. Special congrats to Lucy van Dooren and her crew for setting and resetting a chaotic set nightly. It's a hysterical evening in the hub and absolutely worth the visit. 

Bob Downe - 40 Ridiculous Years, Hot TKT, The Playhouse, Canberra Theatre Centre, 7 December

A performer 40 years into their career usually has some reliably solid schtick and a  way to keep that entertaining the market. Certainly Bob Downe, he of the supreme dagginess in song, dance, hairstyle and dress-sense, has a timeless way of attacking multiple retro hits, this time largely from the year of his "birth" (1985ish), with various talks about his way of engaging in the wider world, whether it be through young people, apps, or through acquiring a younger sidekick to emulate his unique singing and dancing styles. It's a fun 80 minutes down memory lane with Bob - who's slightly evolved these days, partially due to the guy behind Bob, Mark Trevorrow, having a very active career as himself, presenting publicly at Mardi Gras and on varous ABC projects, the gags about Bob being not-very-successfully-closeted have largely disappeared into the background (though there is a video appearance by his long-term fiance, Coralee Hollow (Gina Riley)). There's choreography, there's his trademark teeth-forward, crazy-eyed vowels-only-song stylings, and there's a fabulous costume change for the encore, plus a plug for the merch-stand during the show. What more could you possibly want? 

Low Pay? Don't Pay, Canberra Repertory, Canberra Rep Theatre, 20 Nov-6 Dec

 

Dario Fo won the 1997 Nobel Prize for literature but I have to assume he's lost something in translation or in distance from the time he wrote his plays originally, as I've never really loved his mixes of loose comedy and political polemic - the attitudes within his plays are things I should like, looking at the nuances of the relationship between the state, capital and labour in the late 20th century through a comedic lense, but the polemic side tends to come on with all the subtlety of a brick and the comedy ain't exactly subtle either. This production isn't one that changes my mind on translated Fo - while it has some amusing moments and some decent imagery, it also stretched the dial at around 2hrs 45 minutes for something that should float like a butterfly and sting like a bee, it too often lumbers like an elephant instead.

If there's a reason to see this, it's to see Lachlan Abrahams as Joe, who plays this for all the ludicrousness it's worth. He's playing big but the material needs that bigness - this isn't realism and isn't served by realistic acting. Too often the performances around him feel small and timid - Abrahmas goes in hard both in the over the top comedy and the strong political polemics that the play contains, giving both genuine conviction. The performances around him don't always carry that level of weight - there's a nervousness about committing to the bit which holds this back from being as strong as it could be. 

I will say there were a reasonable number of chuckles at my performance and I'm probably a minority view (and, again, that Nobel Prize) - but for me this isn't quite the end-of-year delight I was hoping for. 

Back to the Future the Musical, John Frost for Crossroads live and Colin Ingram Inc, Sydney Lyric Theatre, til 25 Jan 2026

 

I don't want to kick a show when it's down - this is a show which has already announced an earlier-than-planned closing in January - but really, this is a case of a production that was ill-concieved from the start and only got a few minor improvements on the way through development. The "Popular Movie: The Musical" approach isn't always a disaster - a stage version can find new angles, pep up the action with some fun tunes, and bring an old property into new life - but in this case, it's mostly resulted in a story you can buy on DVD for $16 or stream on a range of streaming services being interrupted by songs that are at best servicable and at worst actively annoying. I will admit that after a long night of Shakespearean tragedy, I was as eager to watch something with a flying car, and the moment when the car flies is kind of cool, but it's a lot of show to sit through for a cool curtain call moment.

I do kinda get why it's a musical - the original film has two highlight music moments ("Johnny B. Goode" and "The Power of Love") and these are dutifuly recreated here. But most of  the remaining original songs fail to really be anything more than time-killers. Most of the performers are stuck reiterating performance decisions made when the original movie was made - Axel Duffy, Ethan Jones and Thomas McGuane may be talented actors but they're mostly stuck doing line readings originally created by Michael J Fox, Crispin Glover and Thomas F. Wilson around forty years ago. Roger Bart at least gives Doc Brown a little of his own yiddish vaudeville energy (and lends a powerful voice to songs that absolutely don't deserve it like "It Works" and "This One's For the Dreamers", both of which pretty much say everything they're going to say by the time their title has been sung). Ashleign Rubenach does benefit from a role that doesn't have performance gimmicks locked in so she can play her own bat and is delightful in all scenes.

Director John Rando does come up with some clever ideas for how to tell the story in a medium that doesn't really allow close-ups and goes all-out in the climactic race-against-lightning finale, but everyone is battling against material that really isn't good enough and wouldn't have hit the stage if it wasn't for the original movie being so beloved. Even on discount, this is really only worth it if you want to tick Roger Bart off your bucket list of performers or if you really want to see a flying car and missed "Chitty Chitty Bang Bang".  

The True History of the Life and Death of King Lear and His Three Daughters, Belvoir St Theatre, Upstairs Theatre, 15 Nov-4 Jan

 

Belvoir hasn't done a Shakespeare since "Twelfth Night" in 2016 but it certainly brings it back with a vengeance this time - three hours and 15 minutes with two intermissions, largely showing grand bloody tragedy. The production could be described as minimalist (bare stage, though it's actually built up from the standard stage height to such an extent that my row B seat was right up front) and it boasts a large cast - 13 actors plus 3 musicians. The text is, as that length suggests, largely uncut though I spotted some changes in scene order to keep the momentum up after the second intermission. 

Eamon Flack directs a pacey production often played right in your face (Cordelia stood right next to me during the opening scene so I got a pretty close view of Colin Friel's wrath - using very little more than a chalk circle drawn on the floor. It is an approach that could feel like it's a production that's never really left the rehearsal room (particularly with the cast in modern dress that mostly could be their regular street clothes, excluding Peter Carroll's tropicana gear as the Fool). Still, it's a production that sustains the length and the concept - few bells and whistles exluding the musicians, the addition of strobe lights for the storm and a lot of stage blood. 

Colin Friels leads with considerable authority as Lear at the top, delivering the right level of cockiness up until the point when it becomes clear how much power he has given away and how ruthlessly his daughters are using what he's given them. A lot of Lears I've seen have played a lot of pathos early on and here it's held in reserve until after the storm - this is a Lear who rages and pushes against until he can't any more. Joining him as the three daughters are a haughty, power-greedy Charlotte Friels as Goneril, a blood-lustful Jana Zvedeniuk as Regan and a gentle Ahunim Abebe as Cordelia, a dyamic Alison Whyte as the gender-shifted Countess of Gloucester (meaning the play goes from a father and three daughters paralleled by a father with two sons to a parallell of a mother with two sons - it shows off her power and her vulnerability even moreso when violence comes against her), a gleefully twisted Raj Labade with a lust for power ever-present as Edmund, a hauntingly gentle Tom Conroy as Edgar, a stoicly supportive Brandon McLelland as Kent, a delightfully oddball Peter Carroll as the Fool, a foppish and over-his-head James Fraser as Oswald and a haughty Charles Wu as Cornwall. 

For a play that's as long as this to hold my attention for its full length, there's got to be something special in here. And this is Shakespeare with a strong beating driving energy to it - no bells, no whistles, just a strong pulse and a cast let loose on a strong text. 

The Almighty Sometimes, Q the Locals and On The Ledge, The Q, 19-22 Nov

 

(Image by Photox)

Kendall Feaver's 2018 debut play is still impressive, seven years after it's debut - looking at a mother-daughter relationship at that awkward point where adolescence phases into adulthood and a girl with a long-term mental illness begins to explore who she really is, going off her medications delivering results that are startling and moving. I loved it on its initial production, and a lot of this production services the play well. Though it's inevitable that comparing a production directed by a master of the form and one by an emerging artist, hiccups will emerge, mostly the play is illuminated well. 

A prime hiccup is the venue - the main stage of the Q is a very much bigger space than the intimate stage of the Stables, and requires a different approach. Caitlin Baker's design of hanging scrolls of paper is visually very impressive but in an air conditioned theatre the scrolls tend to crinkle in ways that upstage the actors - and the design doesn't serve to bring in the playing space the way that, for instance, the design for "God of Carnage" or a number of other shows in the venue have brought-in and focussed the action - instead it's all very grand and imposing  in ways that don't entirely serve a play with four actors where no more than three of them ever share a scene.

The four performers are the production's real strength -  Winsome Oglvie as the 18 year old at the centre of the story is fearless, strong and vulnerable, reckless, yearning and absorbing as she struggles to find her sense of self outside of her disease. Elaine Noon as her mother is similarly fearless, compassionate, desperate, seeking to find where she fits into her daughter's new world and fearing that maybe she doesn't. Steph Roberts as the counsellor combines compassion with professional distance as she seeks to transition her patient into adult care. Robert Kjellgren as Anna's possible boyfriend marks the awkwardness as he engages with mother-and-daughter while struggling with his own emerging sense of self and his history of caregiving.

Marlene Radice's compositions underscore the action gently and carefully - it's a good subtle backbeat underpinning the show.

This is a strong powerful relevant play given a production that is very much carried by its performers but is let down by a space and design that is a little too big for it.  

Equus, Free-Rain Theatre, ACT Hub, 12-22 November

 (photo - Olivia Wenholz)

Peter Shaffer's 1973 play combines a then-modern sex-violence-and-disturbed psychology story with ancient ritual in a dramatic story that ratchets up the tension as we delve deeper into the mind of disturbed teenager Alan Strang with the help of his not-that-much-less-disturbed psychiatrist, Martin Dysart. Dysart narrates at length, exposing the audience to his own professional doubts in the use of his methods as he struggles to bring the truth out of the boy - with every sequence leading up to the shattering final sequence when the horrible act that brought Alan into his care is re-enacted. The strong stylisation of the telling (with a chorus of six actors playing the horses that Alan forms a disturbing relationship with, in masks and platform-shoes that resemble hooves) lets the audience do the necessary transformation in their head and invokes the religious rites that Shaffer's play draws on. 

This production borrows the horse headpieces from Rep's previous 2014 production (reviewed here) but in a number of ways is a very different production - Cate Clelland's design gives it a sense of rings-within-rings as we zero in on Alan's mind going further down the rabbit hole with Dysart. Arran McKenna gives Dysart a sense of self-hating wit, hating his own pedantry and precision even as he keeps on applying it to the world around him, and Shanahan gives us a walled-off Strang, sarcastic and defensive but with a lot of rawness underneath which is revealed as we delve deeper. Sam Thompson as the lead horse, Nugget, has imposing presence enough to explain why he becomes an object of fascination and co-dependance to Alan, with a great stare across the audience. The ensemble works well together to provide live soundscapes (prepared by Crystal Mahon) that bring the ritual into being. 

Anne Somes ties the production together (with contributions from movement director Amy Campbell) with a strongly presentational production that holds the audience compelled til the final blackout. "Equus" is a compelling drama that needs the full physical production of a company of performers tied close together with their audience and Free-Rain's production does exactly that.