Julius Caesar, Chaika Theatre, ACT Hub, 23 July-2 August

 

Shakespeare's grand tragedy of assassination and what comes after is notable for the title character being killed at the top of Act 3 - it's more about the world created by the tyrant as it is about him as a central character. Caitlin Baker's production captures this in a modern production - the suited entourages finding quiet spaces to plot and plan, the cynical creation of a public consensus and the manipulation that switches that consensus in seconds - and the flailing hoplessness that comes afterwards. It captures complex realpolitik in real time, moment by moment, up close and very personal.

Central to the production is Lachlan Ruffy's performance as Brutus - brooding and thoughtful, tempted to action by strong rhetoric and appeals to his intellectual honour but unable to see how he's being manipulated. Yanina Clifton as Cassius is cold fire, sharp and precise in her attack, knowing just what argument to make up until the point when all her smarts fail her and she's left to an ignoble end. Colin Giles seizes his moment in the funeral centerpiece, passionate and powerful as Mark Antony, compelling the audience with his passion and soul. Michael Sparks has the capricious power of a true Caesar, imposing and confident up until the point where he falls to arguments to go to the forum and his ultimate fate. Karen Vickery as Casca is clear, determined and wily as she switches sides in an instant, confidently serving whoever suits her best. Amy Kowalczuck as both Brutus and Caesar's wives gives emotional support in attempts to steer both men away from their predetermined fate and gets an all-too-rare opportunity to unleash her powerful singing voice in the second act. Joshua James gets a double as both the servile Lucius and the arrogant Octavius, and there's strong support from Paris Scharkie as Decius and Sophia Mellink as Cimber. 

Baker's set design is a simple catwalk that uses both ends strongly, bringing different areas into focus under Lachlan Houen's sensative lighting. Paris Sharkie's composition gives the show a strong musical backbone, keeping the tension moving. 

In short this is a powerful production of a classic - leaving the audience shaken as the price of rebellion without thought to what comes after is laid bare - as those who have no thought beyond the initial threat find themselves steamrolled by the circumstances they have created. 

Big Name, No Blankets, ILBIJERRI Theatre company and Canberra Theatre Centre, Canberra Theatre, 10-12 July (and subsequently touring to Desert Festival Araluen and Papanuya)

 

(note - photo from the 2024 Sydney Festival season - some cast changes since this run)

A biomusical about the history of the Warumpi band from the point of view of one of its members, using the inside perspective of several key family members, "Big Name No Blankets" is part rock-tribute-concert, part narrative, combining warmth, politics and pure rock power. The simple set design (an area on the left of the stage representing the Papunya land that the Butcher brothers remain connected with) and a central rock band setup with grand lighting and a projection screen at the back to take us anywhere and everywhere, using the band cases as setpieces for various scenes for the character's travels gives us something simulatenously epic- filling the stage of the Canberra Theatre - and intimate for personal connection moments in the plot. Baykali Ganambarr as narrator Sammy Tjapanangka Butcher gives genial warmth to the story, telling of how the band came together and how personal drives ended it, leading through the triumphs and the personal tragedies with an ingratiating charm. 

As lead singer George Rrurrambu Burarrwanga, Taj Pilgrim has the moves, the attitude and the voice to be a compelling frontman - from his first song to the ending he's got every rock credential you need, bringing the audience to their feet in foot-stomping, communal joy as he slides across the stage in moves that are part Hutchence, part Jagger and part traditional aboriginal dance. It's a triumph of a performance and absolutely sells the Warumpi's material with power and conviction. The cast alternate between acting and band, and are a truly rocking ensemble, playing it loud and powerful. 

With the show co-directed and, at this performance, introduced by Sammy's daughter Anyupa Butcher, and with two of his sons in the backing band, plus Sammy in as story and cultural consultant, this does feel very much like a family affair, very personal and heartfelt. And the combo of family intimacy and the power of fine epic rock music really plays well together - feeling both home-made and polished and skilful. It's a great true story that will delight anybody interested in one of the foundational music acts in Australian history. 

The Pirates of Penzance, Queanbeayn Players, The Q, 3 Jul-13 Jul

 

After a very trimmed down touring verison earlier in the year from the Hayes, it's good to have a full-cast chonky orchestra version of this Gilbert and Sullivan warhorse - though this is the Essgee version created with new orchestrations by Kevin Hocking, adaptation by Simon Gallaher and with additional lyrics by Melvyn Morrow, so the purple pants jokes are indeed back in abundance. As suits a company having a 60th anniversery, it's a frothy fun party of a show with joy bouncing across the footlights into the audience -while the Essgee version is a 30 year old revision of a 145 year old original, the only place where the age is felt is in Gilbert's victorian era freak-outs over older women having a sexuality (which is always moderated by Sullivan writing really great stuff for them to sing - one of the reasons G&S holds up to all ages is that Gilbert is fundamentally a cynic and Sullivan a sentamentalist - the two tones appeal to the different moods of the audience and somehow manage to unite gloriously harmonically in the best of their shows). 

In this production, the emphasis is on as much romping as possible, and on having as large a cast as can fit onto the Q's stage (plus orchestra) to deliver the music and some great stomping choreography. Led by Adam Best in full physical-comedy mode as a Pirate King who keeps chopping himself with his own sword and does dramatic lunges and big line readings in the grand manner, he's a delight to watch. David 'Dogbox' Cannell as the Major General is similarly fun as the finicky, goofy father of way-too-many-daughters, with all kinds of sideways nonsense thrown into the role, occasionally channelling Stephen Fry as General Melchett when in bellowing mode but also able to find some quieter moments to draw the audience in. Lachlan Eldterton as dim-but-nice hero Frederic is thoroughly charming with a smooth, gentle tenor, expressing the character's innocence in a way that is lovely to see. Louise Gaspari throws herself into the role of Ruth with enthusiasm, particularly enjoying a chance to wave a cutlass in act two. Demi Smith is a perfectly lovely soprano as Mabel, particularly when singing a squad of policemen to hopefully die in glory, despite them not really wanting to. The trio of daughters played by Emma White, Tina Robinson and Lillee Keating do some delightful scene stealing on the margins, popping up to surprise in all kindsa spots. Wally Allington as pirate assistant Samuel gives good swashbuckle, and Joe Moores as the Police Sergeant is sweetly adorable as the slightly soppy goofball. 

There's strong chorus work and musical direction under the firm hand of Jenna Hinton (who also gets to banter with the cast occasionally), and Jodi Hammond gets the cast moving in all kinds of spectacular ways. Alison Newhouse pulls the whole production together so it never quite spins off its axis to become pure nonsense - the occasional sincere emotional moment is given its due and respected. 

As a celebration of 60 years of Queanbeyan Players I can't think of a better way to launch into the next 60 years - yes, it's a look backwards at one of the classics, but it's a classic that works for a reason, and it's a show that will have people pouring into the Q and pouring back out with big smiles on their faces.