Meta-farce fun!

Noises Off (Queensland Theatre)

QPAC, The Playhouse

June 3 – 25

Playwright Michael Frayn’s classic meta-farce has been running all over the world since its 1982 beginnings, which is unsurprising given that until “The Play That Goes Wrong” perhaps, it was regarded as the funniest play ever.

The story is one of doors and sardines… good old fashioned sardines, told three times over with increasing hilarity. The three acts (performed with one intermission) all depict a performance of the first act of a play within a play called “Nothing On”. It’s all very British in its “Man About the House” innuendo and slapstick, with its pants down moments and storylines of tax inspectors and sex addicts. But that is just the beginning of its humour.

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Things begin with the mediocre actors clumsily floundering through a late-night dress rehearsal for the about-to-tour farce; Dotty (Louise Siversen) is unable to keep track of her props, as her dim employer, Freddy (Hugh Parker) needs reassurance as to his character’s motivation and as Roger, leading man Garry (Ray Chong Nee) is, ‘you know’ unable to actually commit to a finished sentence outside of the dialogue.

Add in the hard-of-hearing Selsdon (Steven Tandy) and his drinking problem, as the play’s burglar, and it is of little wonder that the pompous director Lloyd (Simon Burke) is impatient, though he is somewhat distracted himself, given his secret simultaneous romancing of the young, inexperienced actress Belinda (Libby Munro) and dowdy, over-emotional assistant stage manager Poppy (Emily Goddard). At least the show’s backwards set has been fixed.

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When Flavia (Nicki Wendt), Philip’s dependable onstage wife, comments on how she likes ‘technicals’ because everyone is so nice, it not just funny because it is a dress rehearsal but because of its foreshadowing of what is to come. In the second act, set a month later, thanks to the show’s intricate revolving set, the audience watches from backstage as the actors stagger through the same material with limited regard and a whole lot of passive (and not so passive aggression) in response to interpersonal secrets being revealed, jealousy being aroused and murderous rage erupting. This section is absolutely hilarious, despite there being virtually no words spoken, lest they disrupt the ‘on stage’ show.

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Fast forward three months and the funny continues as we watch as if we were members of the audience during the play’s final touring performance, which has by that stage descended into a whirl of slammed doors and missed cues as backstage passions spill onto the stage.

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Even with a clockwork script, farce relies not on language but precision of performances. And in this regard Queensland Theatre’s “Noises Off” more than delivers. Despite their countless cues, all actors are spot-on in their timing and commitment to the physical precision required to last the 3+ hour running time distance. As individuals, all members of the ensemble are hugely talented; together than bring their distinct characters to complementary, quirky life. Standouts include Louise Siversen, whose physicality punctuates all that the aptly-named Dotty does and Hugh Parker, particularly in Act One when in panicky but always-polite need of plot clarification and character motivation. And despite only initially appearing as a voice, Simon Burke adds much to the initial act, making even the shortest of responses, ‘no’, so very funny.

Although its length makes “Noises Off” quite the theatrical commitment, it is one that is worthy of the investment. The comedy of errors may not be sophisticated in concept, but under the direction of Queensland Theatre’s Artistic Director, Sam Strong, it is infectiously energetic. And whether ‘off-stage’ or on, the shenanigans on show are full of meta-farce fun.

Moliere’s modern mark

Tartuffe (Queensland Theatre and Black Swan State Theatre Company)

QPAC, The Playhouse

November 12 – December 4

It has been said that what Shakespeare is to the English, Molière is to the French. And in Justin Fleming’s new version of the French playwright’s “Tartuffe” there are a number of dramatic parallels between the two greats. Shakespeare references appear peppered throughout the text and, although conflict is established early, the titular character does not make appearance on stage until Act Three.

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Ahead of the delayed introduction, there is much talk of Tartuffe, allowing the audience to build up a profile of the character that is far from complementary.  Posing as a spiritual advisor, houseguest Tartuffe (Darren Gilshenan) is selling salvation to successful socialite Orgon (Steve Turner), intent on ruining his lavish life by stealing away with his fortune and his wife Elmire (Alison van Reeken). Orgon’s family can see through the fraudulent opportunist imposter but head of the house Orgon regards the slick swindler as his salivation, to the extent that he and his mother (Jenny Davis) no longer take any action without first consulting him. Orgon even announces that he will marry Tartuffe to his daughter Mariane (Tessa Lind), already engaged to Valère (James Sweeny).

With Mariane distraught at this idea, the family devises a scheme to trap Tartuffe into confessing to Elmire his desire for her, however, all does not go according to plan with Orgon refusing to believe his wife, disinheriting his son (Alex Williams) and signing a deed of gift of all his property to the con-man before things end somewhat abruptly with a deus ex machine sudden surprise solution.

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In its satire of religious hypocrisy, “Tartuffe” is filled with witty dialogue, irony and timeless comedic conventions like overheard conversations. Richard Roberts’ set design not only transposes the 350 year old narrative to the contemporary world but allows for some fabulous French farce exaggerated moments of physical comedy such as attempts to hide behind furniture and furnishing. And the impressive rotating stage allows action to be taken both upstairs and outside to a balcony and patio, which adds interest to what is a lengthy work.

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Most noteworthy, however, is the text itself, which, in keeping with Moliere’s original work, is arranged in rhyming couplets. Although initially sing-songy as matriarch Madame Pernelle begins with an onslaught of insults upon her family, it soon settles to become more easy-on-the-ear in its rhythm, thanks to Fleming’s re-working of the script through use of modern Australian vernacular and clever incorporation of ockerisms within the dialogue. The result is inspired in its irreverence with sayings like ‘shut your crack Dorine’ sitting smoothly alongside more sophisticated language.

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Under the direction of Kate Cherry, there are no weak links in the stellar cast, however, the rhyming couplet dialogue seems to sit most comfortably in the mouths of Jenny Davis and Hugh Parker (as Cleante), especially in Parker’s final incantation as an ABC news reporter exposing Tartuffe’s regard of religion as sport. As the ‘monologue Queen’, family maid Dorine, Emily Weir is hilariously funny, particularly in scenes of interaction with the man of the house. Her often risqué lines are delivered with ocker emphasis of the “Kath and Kim” kind. And even though her over-the-top characterisation sometimes borders on too much of a distraction from her essential verbal and physical comedy, the first hour is riveting because of her presence and the second half suffers in her absence.

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As the self-proclaimed holy man Tartuffe, Gilshenan is transparently insincere and appropriately sleazy more than seductive in his rhetoric as his driving base impulses are laid bare (literally). His embrace of the conniving character’s negative charisma is so convincing that at encore, his curtain call is met with audience boos of the lecherous lascivious liar.

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In its day, “Tartuffe” was a controversial play; when first performed in the 17th century it was damned due to its attack on religious hypocrisy. Yet this production also leaves its mark in reveal of its resonance within a contemporary world in which opinion is currently divided about political salvation or damnation. Its overriding theme of appearance versus reality also resonates on a more intimate level with assertion that those who act only in self-interest should be regarded with suspicion. As the final show of the season, the play is perfectly pitched: light-hearted and not too thinky, but playful and funny to the point of snorts of audience laughter.

Photos c/o – https://www.facebook.com/qldtheatre/

Not so straight forward

Straight White Men (La Boite & State Theatre Company)

La Boite Theatre, Roundhouse Theatre

July 27 – August 13

“Straight White Men” is a difficult show to review. From the initial moments of its experience it subverts expectations by blasting the awaiting audience with an uncomfortably loud, rattling pre-show soundtrack of female hip-hop music, complete with explicit lyrics, before beginning with a stage manager (nominated by its Korean-American playwright Young Jean Lee to be a non-gender-conforming female of colour), greeting the audience.

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In contrast, the story itself begins simply enough with initial scenes that appear to emulate family sitcom conventions. What seems to be constructed as a classic American family drama (set somewhere in its Midwest), however, emerges as so much more as it probes the construct of masculine identity. The work, brought to Queensland by La Boite Theatre Company in collaboration with State Theatre Company of South Australia, explores what could be perceived as the oldest birth privilege around – to be a straight white man.

When recently-widowed Ed (Roger Newcombe) welcomes his middle-aged sons home for Christmas, their exuberant celebration and sibling hijinks are but a veneer to the question of privilege. All of the men are successful; the youngest, Drew (Lucas Stibbard) is an award-winning writer, middle-brother Jake (Chris Pitman) is a hotshot banker who refuses to apologise for his success and eldest sibling Matt (Hugh Parker) has been working a series of temp jobs at social organisations, but is living with his Dad as he attempts to repay his student loans. Harvard graduate Matt, traditionally acknowledged as the brightest of the three, has a long history of championing minorities, yet questions what he is meant to do with his life, which leads to his sudden breakdown in tears, without apparent reason or explanation, during a night of Chinese food and foolery.

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Although the switch from parody to provocation is subtle, more recognisable in retrospect than experience, the distinct chapters to the show’s tone sometimes labour its rhythm. For example, after teasing and mocking each other in brotherly banter and having too much to drink, characters engage in a dance off, which, although fabulously funny, drags long beyond its natural endpoint.

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As the rowdiest of the brothers, Pitman gives an engaging performance as the least likeable of the siblings. And Stibbard is similarly solid as the put-upon youngest brother Drew. But appropriately for a play that is primarily about Matt’s experience in just trying to stay out of the way of life, Parker gives a layered performance that hints at his inner sorrow well before his character’s tearful breakdown, proving what an asset he is to any production.

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Rounding out the cast is Newcombe as their loveable dad, adorable in his insistence that they adhere to traditions like Christmas pyjamas and attempt to join in their dance party, and Stagehand-In-Charge Merlynn Tong who, through the simplest of smiles and nods, brings a humour to the role to make it more than just a meta-theatrical device.

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Appropriately, the one-room middle-class family drama takes place in a white living room (designed by Victoria Lamb), naturalistic in aesthetic thanks also to Ben Hughes’ lighting. Further bringing Lee’s script to life is the music composed by Kim ‘Busty Beatz’ Bowers, La Boite Artist-in-Resident and musical director of Black Honey Company. Still, holistically, the work seems unsatisfying, particularly in its conclusion and it is its cast that ultimately carries its success.

Although relatively simple, the plot’s universal appeal suffers from the playwright’s requirement for there to be no alterations, meaning that the character’s jarring American accents and the narrative’s US references, alienate rather than appeal. Still, the show’s examination of the notions of ambition, activism and the value of capitalist ideas of success provide valuable consideration in any western culture. And as a satire and show of social consideration, “Straight White Men” represents the deep and diverse theatre at the core of La Boite’s artistic vision and thus Brisbane’s dynamic theatre culture.

Photos c/o – https://www.facebook.com/LaBoiteTheatreCompany

Ado anew

Much Ado About Nothing (Queensland Theatre Company)

QPAC, The Playhouse

April 23 – May 15

Compared with other Shakespearean plays, the plot of “Much Ado About Nothing” is comparatively simple and orthodox. A nobleman, Leonato (Bryan Probets), agrees to the engagement of his daughter, Hero (Ellen Bailey) to Claudio (Patrick Dwyer), a lord in the entourage of Don Pedro (Tama Matheson). But Don Pedro’s bastard brother Don John (Hayden Jones) is intent upon disrupting proceedings. Meanwhile, Leonato’s niece Beatrice (Christen O’Leary) is embroiled in a merry war of wits with another of Don Pedro’s lords, Benedick (Hugh Parker), until others trick the pair into realising their love for each other.

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On the surface level, at least, the play is commonly perceived as a frivolous comedy of nothingness, the selling point of which is usually the playful banter between Beatrice and Benedick and perhaps the comic buffoonery of Dogberry. And in Jason’s Klarwein’s first directorial foray into main-stage theatre, it is this focus that sees audience members frequently responding with riotous laugher. Indeed, rather than presenting a formal society overly concerned with outward appearances, which the play intimates, The Queensland Theatre Company production exploits the work’s word play for every comic possibility, balancing its puns, malapropisms (mistakenly using one word for another that sounds similar) and innuendo, with physical performance and slapstick, all to audience delight.

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The setting is deliberately ambiguous in a sometimes bothersome way, with original text mentions of Messina and ducats referencing Italy, alongside the use of Australian currently and mention of the Commonwealth, that jar with its Palm Springs sensibility of golf games and ladies tennis. Regardless, the indulgent lifestyle is brought to life through lusciously-lit tropical sunsets, as well as a night-time fireworks display and an Act Two tropical storm.

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Staging consists of a simple pallet of whites upon which to lay the performances, with a revolving stage. Not only does this allow for seamless transitions between inside and outside scenes, but affords plenty of places for Beatrice and Benedict to skulk about in attempt to overhear the deliberate declarations of the others regarding the pair’s supposed love for each other, allowing comedy to come from their respective reactions as much as their attempts to remain hidden, unlike other productions that have relied solely on slapstick in these sections of the play.

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The contemporary production features a number of deliberate attempts to create anew appeal to modern audiences. Tight direction has condensed the work to its core, cutting, for example, the character of Ursula, one of the gentlewomen attending on Hero. Language has been occasionally changed, for example when Beatrice compares courtship and marriage to a series of dances. And buoyancy is added to proceedings courtesy of a bit of Beyoncé and other modern musical additions. The cumulative result is a lighthearted take in which the antagonist, Don John’s motivation (or lack thereof) is murky in its privilege of Beatrice and Benedick’s banter over its primary Hero and Claudio plot.

The cast has been carefully curated to bring the play’s poetry to life. Parker is simply superb as the boisterous Benedick, scoffing of love until its experience, yet always self-aware and able to laugh at himself ‘for man is a giddy thing’. More buffoonish than swaggersome in his determination to remain a bachelor, he shows perfect comic timing, yet he also effectively conveys the character’s transition from self-conscious figure of fun to new maturity and capability for love. And he inhabits the language with a natural affinity.

Comparatively, O’Leary’s performance as Beatrice lacks a little nuance and her character some vulnerability. Her portrayal of Beatrice’s sharp-tongued wit is on-point from her first words (of mockery), so that when Benedick refers to her as ‘my lady disdain’, it rings entirely true, but she never quite captures the poignant pain of a woman whose pathos hides behind her pride. She is, however, at her best in the tragedy, when in reaction to the brutal rejection of Hero, she reveals an impressive depth of emotion in frustration of female limitations and contemplation of ‘If I were a man’, appropriate for portrayal of one of the most independent and modern of Shakespeare’s heroines.

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As the contrasting, conventional, conformist characters of Hero and Claudio, Bailey and Dwyer, do a decent job with what they are given. Although clearly lacking in confidence and, therefore, dependent upon Don Pedro, Dwyer’s Claudio comes across as less shallow and insensitive than he perhaps should, making him almost likeable in his naivety. As the passive, dutiful daughter upon whom events are played, Hero floats about with little to say throughout the play, yet Bailey’s performance presents her as more than just a fragile creature. And while Probets is appropriately patriarchal as the loving father Leonato, he appears less convincing in his wish for his defamed daughter to die rather than live dishonoured.

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Liz Buchanan and Megan Shorey as a now-female Dogbery and Verges Constable and Deputy duo deliver standout comic performances. Eager to assist, they play up all range of moods, grovelling, condescending and outraged, in their mangled language delivery. And as the bawdy Margaret, Kathryn McIntryre is another deserving audience favourite.

This is an energetic and accessible production of one of Shakespeare’s funniest and liveliest plays. Although it minimises the story’s darker strains, this is forgiveable as people will no doubt be attending with expectation of experience of the verbal sparring of its reluctant lovers. And its sympathetic chronicle of the plight of Elizabethan women compelled to acquiesce in a man’s world, gives even modern audiences an added contemplation.

Photos c/o –Rob Maccoll and Queensland Theatre Company

Copros, classics and close-to-home tales

The Queensland Theatre Company has announced its 2016 season, the last programmed by outgoing Artistic Director Wesley Enoch who is departing the company to take up the role of Sydney Festival Director for the 2017 – 2019 Festivals. As Enoch noted at the season launch, “we make theatre because we like to tell stories.” And what a bunch of stories he has left as the final component of his legacy… diverse stories of ambition, achievement and bravery.

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The highlight, coming early in the year is “The Secret River” adaptation of Kate Grenville’s multi-award-winning bestselling novel that tells of the bloody beginnings of colonial Australia, when pardoned convicts clashed with the traditional owners of the land they settled along the banks of the Hawkesbury River. Coming off the back of this year’s lavish ABC miniseries and previous Sydney season, the Sydney Theatre Company co-production is sure to be a powerful, epic (featuring 22 actors on stage) experience of a work that will surely settle into the Australian theatrical cannon.

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The provocative themes will continue in October’s “Disgraced” a co-production with the Melbourne Theatre Company of Ayad Akhtar’s debut 2012 play and winner of the 2013 Pulitzer Prize for Drama. The stirring drama promises to challenge notions of Islamophobia and terrorism through its intimate, intellectual Manhattan dinner party setting, (like “God of Carnage” with politics and sans the catalyst children perhaps).

disgracedSimilarly small in scale, will be “Switzerland”, in which Andrea Moor presents a thrilling re-imagining of the last days of crime novelist Patrica Highsmith (author of “The Talented Mr. Ripley” and other twisted tales).

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At the other end of the serious scale is the bright and bold “Bastard Territory”, a co-production with Perth’s Black Swan Theatre Company about the 1960s and ‘70s bohemian lifestyle of far northern Australia and the Pacific Islands residents. With soundtrack boasting Shirley Bassey and Suzi Q, it promises to be quite the weird and wonderful ride when it features at the Bille Brown Studio as a Season 2016 Add On.

A comedy of the more classic kind will be Moliere’s “Tartuffe” (starring Darren Gilshenan who was last year seen in “Mother and Son”), a co-production with Western Australia’s Black Swan Theatre Company. The story of the titular brazen conman may have first been performed in the 17th century but promises to be sinfully brilliant and perhaps surprisingly still relevant in its attack on religious hypocrisy and fanaticism.

The season opener at The Playhouse, “Quartet”, Directed by Andrea Moor, also promises to be devilishly funny as it journeys into old age with four feisty ageing opera singers who, having fallen upon hard times, find themselves trying to come to terms with life in a retirement home by headlining a convert to mark composer Verdi’s birthday.

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Fun too, will be the bantering, bickering Beatrice and Benedick, when Director Jason Karwein brings to life the classic romantic sparring of “Much Ado About Nothing”, one of the Bard’s most accessible and enjoyable comic works, when Shakespeare was ‘on his zing’, we are told at the launch. And as the prototypical but also terribly modern rom-com couple: squabbling like children until they realise they’re actually in love and fall into each other’s arms, Hugh Parker and Christen O’Leary promise to make love quite the battlefield. The addition of Ellen Bailey and Tama Maheson in paring as the more traditional Hero/Claudio couple is only added bonus, coming as they both are from some outstanding 2015 Brisbane Powerhouse performances.

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Indeed, it is wonderful to see so much local talent featuring within the season. And also that it will once again feature shows true to the Brisbane experience, whether it be from across the world or around the corner. Brisbane playwright, David Burton’s new work, “St Mary’s in Exile”, to be directed by Jason Klarwein, is one of those stories that would be beyond belief if it wasn’t true, telling the tale of how, in 2009, Brisbane’s Catholic community was rocked when the Catholic Church stepped in to oust beloved priest Father Peter Kennedy from his post at St Mary’s in South Brisbane.

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Motherland” is back too, moving from Metro Arts to QTC’s Bille Brown Studio, for a return season in April. This historical drama by local playwright Katherine Lyall-Watson was a 2014 highlight, telling with delicious language a trio of somewhat true stories: of Brisbane-born Nell who has travelled the world before marrying the Russian Prime Minister and helping him flee the Nazis in World War II, writer and academic Nina who quits her native Russia for Paris, only to return in her twilight years, and single mother Alyona, a Russian museum curator whisked away to Brisbane by an Australian businessman, in search of a brighter future. Both epic and intimate in its sweeping tales of different women from different times, united in the heartache of exile from their homelands, it will take audiences from the chaos of a Russian military coup, through the hell of Nazi-occupied France to a turbulent Brisbane in the throes of the Fitzgerald Inquiry.

And The Dead Puppets Society is also returning, this time for World Premiere of “The Wider Earth”, featuring local talents including Thomas Larkin and Margi Brown Ash, as well as a bevy of astonishing puppets breathing life into creatures great and small. It promises to be an extravagantly beautiful recount of the tale of scientific visionary Charles Darwin’s voyage on the HMS Beagle in The Wider Earth.

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With its mix of classic and contemporary works, whimsical trips to the happiest of theatrical places and contemplation of differing opinions, the 2016 season promises to be all sorts of engagement. 3, 5 and 8 Play Packages are available now. Though if you are feeling adventurous, you could always all in to purchase the ultimate 10 Play Package!

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All dolled up

A Doll’s House (La Boite Theatre Company)

La Boite Theatre, Roundhouse Theatre

September 6 – 27

Henry Isben’s “A Doll’s House” is a classic play, telling the story of how protagonist Nora’s seemingly happy marriage and family life becomes complicated by a series of secrets and lies. (Having broken the law by borrowing money, with forged signature and no male guarantor, she lives in fear of her secret being exposed.) And it is a timeless text for a reason.

“I think the best thing for me to say is as little as possible. I want to allow the work that Isben, Lallly [Lally Katz, the show’s playwright], the creatives, crew, cast and myself have done to speak for itself,” Director of “A Doll’s House”, Steven Mitchell Wright notes in his program notes. How odd it is, therefore, to then have the experience of the play hijacked by a final feminist manifesto from a modernised Nora, for while this seminal work has a certain contextual specificity, it also has an intrinsic universality. This is what has made it so enduring. So it in entirely unnecessary to sermonise as a lead-in to Nora’s famous door slam.

That aside, the show’s sterling touches are many. Ever the Steven Mitchell Wright show, the exaggerated, gothic-like aesthetic is rich in the opulence of Tim Burton-esque imagery, realised through internationally renowned Dan Potra’s design. The visual aesthetic is quite magnificent in its melodrama. Strung from the ceiling, the stage rotates though the three acts, tightening around the characters as Nora’s secret web of lies unravels their picture perfect lives.

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Victorian in demeanor, the characters are realised in hyper-realism. Hugh Parker is quite beguiling as the domineering, ambitious and moral patriarch Torvald Helmer, as patronising to his wife as the production’s conclusion is to the audience, but very much a product of his time. As his caged hummingbird, no longer singing, Nora (Helen Christinson) is presented as precious and porcelain-like, but broken (much like the three-legged chairs that corner the stage), all dolled up and delicate in her pink doily dresses.

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Chris Beckey as Nils Krogstad, from whom Nora has borrowed the money, is a compelling villain, equal parts cartoonish and evil and his scenes with Cienda McNamara as Nora’s tough, world-wise friend Kristine are appealing in their comfort, despite the lack of eye contact or genuine interaction that characterises virtually all of the show’s dialogue delivery.

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Ibsen’s text is one of the most performed plays in the world (his global popularity, it has been said, is second only to Shakespeare’s). As important as conversations about feminism are, however, “A Doll’s House” is about so much more than this. Despite its focus on Torvald and Nora’s spousal relationship, its themes regarding the loss of identify are relevant to any relationship. Indeed, Isben himself didn’t see his play as feminist; he saw it as humanist. He thought every person, man and woman, had a right to be who they wanted to be. Thus, the show should be about universal happiness more than feminist realisation. And to distrust the audience with this, not only undermines the show’s earlier sophistication, but disrespects the intellect of its members.

Photos c/o – https://www.facebook.com/LaBoiteTheatreCompany

Connecting the Pale Blue Dots

Pale Blue Dot (La Boite Theatre Company)

La Boite Theatre, Roundhouse Theatre

July 19 – August 9

There are a number of tell-tale symptoms that you may experience if you have been abducted by aliens, many of which are most notable after a night of drinking, the “Pale Blue Dot” pre-show announcement tells the audience. This is exactly why you should purchase anti-abduction insurance, especially if you live in Toowoomba. As the show reveals, the Darling Downs region is a significant destination for our space brothers and experiences an unusually high number of disappearances due to the large amount of granite in the area, which the crafts use for navigation.

16 year old ‘alien freak’ school girl Storm (Ashlee Lollback) knows this all too well. The science nerd loner claims to have been taken from her formal party and transported to Roma. Her domineering German immigrant mother Greta (Caroline Kennison) is determined to claim upon her policy; she knows what she is talking about given that her husband was also ‘taken’ three years ago.

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So what happened to Storm? And how did she wake up in an empty field 200km from home? Enter skeptical insurance fraud investigator Joel Pinkerton (Hugh Parker) who is juggling his case involvement with frustrations closer to home from his wife Holly (Lucy Goleby) and their newborn baby girl.

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Although “Pale Blue Dot” includes a gallery of characters, each wrestling with their own psychological alienations and fear-motivated desire for escape, their realisation (and much of the show’s humour) includes reliance of a number of comfortable stereotypes. Parker gives an understated and engaging performance as Joel, very Colin Firth like in his manner and mannerisms. And Kennison demands audience attention as the fierce and determined Greta, fearful of losing her soon-to-be-adult daughter, both literally and metaphorically. This is a show about relationships, between mother and daughter, husband and wife. However, while there is realism to each coupling’s arguments, the chemistry of affection is sometimes lacking.

“Pale Blue Dot” is a new play by Brisbane actor and playwright Kathryn Marquet, the result of La Boite Theatre’s playwright-in-residence program. More than anything, however, it serves to showcase the work of optikal bloc, whose projections combine with the staging and soundscape to produce a hyper-reality highlight. The minimalist stage is beautifully bathed in the blue hues of Jason Glenwright’s cutting edge lighting design, while the stage itself is dominated by concentric circles of varying depth. Atlhough this design is striking and versatile, the creaking sounds of characters moving about on its levels are initially a little distracting.

“Pale Blue Dot” is a show of both personal dramas and big themes, which is perhaps to its detriment. The jumps back and forth from intergalactic intrigue and conspiracy theories to humans struggling with their insecurities and insignificance confuse its identity and the end result of trying to connect the dots (pun intended) is baffling and unsatisfying.

The play’s title comes from the title of a photograph of planet Earth taken in 1990 by the Voyager 1 space probe, from a record distance of six billion kilometres from earth. It shows the Earth as a fraction of a pixel against the vastness of space, emphasising its insignificance in the vast cosmic arena. It is an apt title for a play that has at its core consideration of Arthur C Clarke’s statement that “Two possibilities exist. Either we are alone in the universe, or we are not. Both are equally terrifying.”

Regardless of your thoughts on Ufology, however, you don’t have to be a rocket man to get the best view in the universe; as “Pale Blue Dot” concludes, all you have to do is look up at the stars that every person who has ever lived has also looked upon.

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Photos c/o – http://www.laboite.com.au/