Relationship rewards

Stop Kiss (Underground Productions)

Schonell Cinema and Live Theatre

May 17 – 20


Diana Son’s Off-Broadway hit “Stop Kiss” begins in the enviable Manhattan apartment of Callie (superbly played by Didi Leslie), a radio traffic reporter who agrees to look after the cat of Sara (Adrienne McManus), who has just arrived from St. Louis on a fellowship that has her teaching at a public school in the Bronx. Although they are very different characters, there’s an immediate rapport and a strong attraction that allows their acquaintance to morph into more. It is new territory for both; Sara left a long-time boyfriend back home and Callie has a long-term casual arraignment with a male friend, and in the hands of Underground Productions, it unfolds as a thoroughly engaging, effortlessly-updated story thanks to chemistry between the two leads and the strengths of their respective performances.

Watching the relationship of the two main characters develop is a real treat. Under the direction of Matthew Ambrose and Keya Makar, both characters are fully realised and absolutely endearing. Indeed, their relationship is portrayed in a lovely manner, full of small and touching, tender moments of deepening connection that often say so much more than the conversation that is occurring around them. As Callie, Leslie is excellent and there is a natural rhythm to her scenes with McManus as Sara. Alex Budden is also notable in his performance as Callie’s friend-with-benefits George, especially in delivery of many of the show’s funniest lines.

But “Stop Kiss” is more than just a well-written love story and, as audiences, we know this from the beginning as it alternates between scenes in the past when Callie and Sara first meet and scenes in the present that showcase an investigation into a gay-bashing incident of the pair (by an attacker we never meet) and time in the hospital focussed on Sara’s recovery. Even knowing what happens, we are engaged in their endearing awkward flirtation and the brutal reality of the aftermath of their admission of feelings, because the attack is just one incident and their relationship is about so much more than just this one moment.

The inventive structure and the reporting rather than dramatisation of the horrific attack (eventuating after the kiss of the title), does not come without a price. Lengthy scene transitions lag the run-time to a two hour endurance. There are some problems too with articulation and voice projection, especially from Sophie Edwards, as an interrogating police detective, but also sometimes from others in competition with the New York City soundscape or over the soundtrack of background music.

“Stop Kiss” is funny, romantic and rewarding in its transcendence of the plot’s specifics for engagement of broader themes. It is quite enigmatic even in its juxtaposition of a very modern story with more traditional tale of tenderly-observed love, and it is easy to appreciate its selection as part of Underground Production’s 2017 season, especially given the company’s history of sharing edgy, interesting shows that have experienced considerable success overseas.

Skin-deep satire

The Ugly One (Underground Productions)

Schonell Cinema and Live Theatre

March 2 – 11

The greatest thing about attending Underground Production works, apart from returning as alumnus to UQ, is the always-interesting show choices. Continuing in this tradition, the university’s resident theatre company’s first 2017 production, German playwright Marius Von Mayenburg’s “The Ugly One” is certainly through-provoking. Indeed, as Director Taylor Davidson notes in the program, the play is at-once complex, confusing and confronting.

The story, is of an engineer, Lette (Tom Wilson), a man whose face is so ‘unacceptable’ that he is forbidden by his firm to promote his latest industrial invention. Following confirmation of his unsightliness from his wife (Angelinque Asselin), who he realises has never looked directly at him (but adores him despite his physical failings for he is ‘a beautiful person inside’), he seeks out a surgeon who gives him an Adonis-like face which makes him sexually irresistible to his wife, female fans on the lecture circuit and a much older corporate boss and her gay son (Matt Steenson). Celebration, however, turns to despair when the surgeon repeats the operation on others and the world is suddenly filled with Lette lookalikes.

Although it is quite a simple story, a lot happens in the show’s just over an hour running time with four actors playing seven parts, on a largely-bare, clinical stage, not always to desired effect; as switches become increasingly swift, effort is sometimes needed to keep track towards the show’s end and there is discomfort from seeing mother and son characters also as lovers.


Faced with the series of lightning scene changes and an avalanche of matter-of-fact dialogue, performers all rise the occasion energy-wise, with Wilson, as an initially-vulnerable aesthetically-challenged protagonist giving a particularly strong performance as anchor to the chaos. Of note too is Brittany Hetherington who, as the scalpel wielding doctor, gives a consistent performance of little details, steeled in determination ‘to start with the nose,  because it’s furthest from the face’.

Certainly the core challenge of “The Ugly One”, that human perception of beauty in relation to identify and success, is not new, yet still its comment on conformist notions of physical perfection, narcissism and the fleetingness of fame have a modern resonance. And it not only gives the audience things to think about, but also a lot of laughs in its comedic satire of society where individuality can easily be lost to conformity.

Sexism, satire and suggestion

NSFW (Underground Productions)

Schonell Cinema and Live Theatre

October 13 – 22

“NSFW”, the final 2016 work from Underground Productions, at first seems enigmatically titled, until its acronym is explained. NSWF stands for Not Safe For Work and refers to the kind of online material employees should not be accessing in the workplace. It is a grubby premise reflected in its opening scene in the offices of Doghouse men’s magazine, fit out, as they are, with sporting equipment and memorabilia, and provocative cover posters of bare-breasted posers. The employees swear and make sexual suggestions, all within just the opening few minutes … but that’s all ok, because it is all just a joke right?

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To the entitled employee Rupert (Kell Andersen) who claims of discrimination against his privilege and upends furniture in temper tantrum, it is all light-hearted.  Maybe not so for Charlotte (Olivia Hall-Smith) who lies to her woman’s group about where she works; it is not her dream but it’s something for her cv, it pays the rent and she just likes working. Tactical repositioning of the brand is put aside when it is revealed that well-meaning junior Sam (Matt McInally) has accidentally okayed topless cover shots of ‘local lovely’ Carrie, who is in fact only 14.


As Rupert relishes in Sam’s error, it evolves that this is an unappealing story of unlikeable characters, not improved when Carrie’s job seeker dad (Greg Andreas) arrives to be callously manipulated into accepting a payoff from the magazine’s smooth operator boss Aiden (Rijen Mulgrew).


The commitment of all performers is admirable. Andreas brings a modest realism to the role of Carrie’s dad, distanced from his daughter thanks to divorce and fully aware of her faults but wanting to protect her nevertheless. McInally is excellent as the awkward but essentially good buy Sam, sacked from Doghouse after the incident. His after-intermission monologue about the appeal of a sharing his life space with his girlfriend is moving in the honesty of its delivery.


After a rushed resolution to this starting story, the audience follows Sam to the show’s second story, when, after months of unemployment he is being interviewed for another low-paid magazine position, this time at women’s glossy Electra. It initially appears to be another world to that of Doghouse, filled with champagne, free samples and a readership who ‘likes to think’, but before long it emerges that things are not so different after all.

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Here the corruption of values is embodied by editor Miranda (Jessica Palfrey) who, like any great mean girl, manipulates others into submission of agreement. The belief at Electra is that perfection is isolating and that any anxiety is valid. Accordingly, to qualify for the job, Sam is required to look at pictures of famous women and identify their physical flaws.


From here the show staggers to its finish, with some scenes dragging a little past attention, such as when Miranda (yes, the script features a Carrie, Charlotte and Miranda), is going through ritual of getting ready in her office to a longer-than-needed Whitney Houston soundtrack. There are times too when more attention is needed to moving Lucy Kirkwood’ work from its UK origins, as references to the Broncos and Bulldogs for example, only highlight the still-Britishness of mention of UK make-over queens Trinny and Susannah.

Although inconsistent in its engagement, “NSFW” is more than just a satirical attack on the world of magazine journalism. Its juxtaposition of the brash world of Doghouse and Electra’s more passively aggressive approach, not only highlights the hypocrisy of sexism, but suggests that there is still much to talk about in relation to sexual harassment and the media’s objectification of women.

Mission almost accomplished

Kidnapping for Jesus (Underground Productions)

Schonell Cinema and Live Theatre

August 26 – September 3

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Josh Bonnett and Robert Cooper’s religious satire musical “Kidnapping for Jesus” begins with a straight-jacketed Conor Ensor centre-stage, swaying to the gentle sounds of nature, a hint to the audience of how things are going to play our for the show’s Reverend Craig Helshere consequent to his musical mission, under Jesus’ direction, to save sinners through song.


With wife April-May (Hannah Crowther) and her brother Olly (Alex Smith) as sidekick, the Reverend sets out to divinely cure lost-soul vices using this in conjunction with some more traditional methods of coercion. And so heroin addict Peter Paranoid (Alexander Sullivan), recreational stoner Willow (Melanie Bolovan) and songbird Stacey (Ellie Gale) who is corrupted by the demons of gluttony, find themselves captive.


The result is a world premiere work that includes some very funny scenes, heightened often by use of mine to account for the simple, restricted staging but revealing the need to account for audience laughter in pacing. It’s not all mirth though with some political commentary making appearance in the title song’s suggestion that ‘those who push their God on everyone need to step out of the Dark Ages’. Much of the physical comedy comes courtesy of Ensor, however, it is Crowther’s performance that steals the show. As the Reverend’s subordinate, vacuous wife (she can only rhyme words with the same word), she is appropriately over-the-top in every instance, tittering about with permanently-plastered smile.


The show’s songs are another highlight, varied in melody and clever in lyrics, but indulgent in frequency and inconsistent inclusion. Act Two numbers work most effectively, growing out of plot rather than breaking up the action and include memorable numbers like ‘Poor Old Marijuana’. It is unfortunate they are not always given justice in delivery from timid singers who lack the power and presence required to really bring them to life… apart from Alexander Sullivan whose vocal performance not only stands above all others but highlights the comparative deficiencies of those with whom he duets.


“Kidnapping for Jesus” is an ambitious venture, as perhaps is any musical for an independent theatre group, as part of a determined 2016 program from the University of Queensland’s resident theatre company. It represents the beginning of something that could easily be shaped into something bigger and better with work on pacing, which drags a little toward intermission as Stockholm-syndromed Peter falls for April’s sister ‘Science Girl’ nurse June-July (Louella Baldwin) and is affected by the lack of judicious song selection. And as a new musical, it should still be championed as part of ensuring that new works continue to entertain and engage eager theatre audiences.


Love and lots of information

Love and Information (Underground Productions)

Schonell Cinema and Live Theatre

March 12 – 21


“Love and Information” begins with six character scenes frozen on stage as the audience enters, a hint of the multiplicity of stories to come (over 60 vignettes). With all the cast members then taking to the stage in the first scene, vocal delivery is sometimes muffled, overwhelmed by the accompanying technology sounds. Initially, it is forgivable, however, as the point regarding technology at the core of its thematic comment is clear well before the lengthy introduction is over.

Caryl Churchill’s “Love and Information” questions the very nature of what it means to be connected, in a manner that mirrors our modern, minimal attention spans. It is a clever approach, but while it is interesting, it is also often exhausting in its non-traditional narrative. Each scene is self-contained with no recurring characters or narrative through-line, and it is up to the audience to determine their contexts. Some are just a few lines of fragmented dialogue, frustratingly shorter than the blackouts that bookended them. Others, are longer and thus more conducive to audience engagement. And as audience members try to connect the scenes, they are, in fact, confirming Churchill’s intent to illustrate our constant craving for connection, whether by looking for logic in maths or human connections in life.


The consequential contemplation raises a number of interesting intellectual considerations. One such idea is of whether it is better to know or no. It’s an old one, dismissed by Othello as “I swear ’tis better to be much abused. Than but to know ‘t a little”. “Love and Information” explores the options in a range of modern guises…. placing characters in geographical remoteness without access to a wi-fi signal, presenting them as unable to settle disagreement without Google-aided immediacy and suggesting that memories can only come those events in life for which there is legacy footage.

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At its core also is the notion of information – shared, scientifically investigated, censored and secreted and questions about the power of its knowledge – to know if he loves you, if he’s cheating, if you should stay or move away. And accordingly, anxieties of love also overlap, particularly in later scenes which move towards notions of virtual reality as an adequate replacement to real life.

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With over 100 characters to present, the 24-strong cast switch between multiple roles with ease, aided by minor costume tweaks. While one scene of an elderly group reflecting back on life’s milestones while watching a wedding video is overplayed, generally performers do a good job in engaging the audience, whether giggling in girly revelation of gossip or teary when told of terminal illness diagnosis, for example.


However, some scenes are simply too brief to foster any engagement, while others, like tale of a tip-off phone call to the police leave us only wanting more. It is hard work for the audience too in some scenes when the background soundscape is a little overwhelming.

“Love and Information” is like a modern short story analogy brought to theatrical life in a kaleidoscope of scenes. Aided by its taut direction (Kate Fester and Maddi Romcke) and transitions, audience members are sure to have their preferred stories from which they will take thematic comment and contemplation about connection in this crazy world.

The aestheticisation of alliteration

Terminus (Underground Productions)

Schonell Cinema and Live Theatre

March 3 – 12

Mark O’Rowe’s “Terminus” is the account of one long, dark Dublin night of violence. It is a storytelling feat, told entirely in often-absurd verse by its three characters, known only as A, B and C (Elise O’Meara, Olivia Hall-Smith and Henry Bretz) each narrating their section of the story without addition of much staging in support. The result is heightened awareness and thus audience appreciation of the script’s essential eloquence as it moves from realistic, grounded story to become a heightened supernatural, metaphysical and fantastical adventure.

The first night-venturer’s recount is a past-teacher’s attempt to rescue a previous pupil from a brutal back-street abortion. In the second, that woman’s estranged daughter falls from a crane, at the terminus of life and death. While the third tells of a shy bachelor-by-day who busies his nights butchering his sexual conquests and then some, having sold his soul to the devil. Each story is essentially delivered within cycles of monologues, overlapped by a line or two in transition, but without any character interaction.

girl.jpgEach performer does a good job with their section of the grisly subject matter. O’Meara, in particular evokes many comic moments from within her piece, especially in mimicry of characters as part of her initial anecdotal style or recoutn. It is Bretz who delivers the most noteworthy performance, however, capturing the sneering strangeness of his serial killer character in viscerally grim description of violence with Tarantino type aestheticisation.


Alliteration, assonance and haunting imagery paint evocative visions but unfortunately, the moments of lyrical beauty often become lost in the works’ multitudinous sea of words, showing how even eloquence can use an edit. And without anything to hold the audience’s visual interest, the near two-hour experience becomes almost as arduous for the audience as it is demanding for the actors on stage.

With its unsettling themes, expletive-filled dialogue and original approach to storytelling, “Terminus” is a risky choice …. perfect for student theatre …. on paper at least. In reality, however, even its humour cannot make it ultimately satisfying in terms of narrative, meaning and message, beyond a shock value that wears tediously thin long before its conclusion.  And the decision to sit the text’s embedded cultural references of stout and Walnut Whips alongside mention of Longanlea and BWS for its Queensland premiere, only makes for a confused identity and lapses in momentum.