Anton Chekhov (1860-1904) wrote complex socio-psychological plays in a context of revolution and modernisation. Second-year students of the Actors Centre Australia staged a bold production of scenes from two of the Russian writer’s well-known works, showcasing thoughtful and skilful understanding of the texts’ dramatic and comedic elements.
SURRY HILLS: Back in late March, second-year students of the Actors Centre Australia (ACA) staged their first performance of the year, showcasing their talents and the results of hard work.
Most adults in our society would see children as apolitical. However, as The Political Hearts of Children suggests through this performance of seven unique childhood memories, the young are early introduced to the notion of power-holding and powerlessness through the relationship of child to child, adult to child, parent to child, and community to child.
In December Milk Crate Theatre was presented the Macquarie Group Foundation’s Social Innovation Award in recognition of its community shows program, Australia’s only ongoing theatre program devised “by the homeless community for the homeless community”. Long-time participant, Helen (not her real name), spoke with the SSH about acting, artistic collaborations and developing skills for life.
As expected from playwright Alana Valentine, Tinderbox, directed with a lyrical toughness by Zoe Carides, is both provocative and tender.
For three years now, in support of ASCA’s Blue Knot Day, Heather Robinson, chair of the South Sydney Uniting Church, and minister Rev. Andrew Collis, have led a prayer service for adults surviving child abuse. This year, however, on Saturday November 3, the church was host to a unique visual art and storytelling presentation.
It’s going to be an exciting Sydney Festival and plenty of it can be seen locally. Carriageworks and the Seymour Centre will once again be busy venues and for the first time the Festival will be taking itself to the streets and parks of Erskineville.
The five intersecting stories of Into the Mirror celebrate identity and affirm the choices of its characters. At the play’s close, a mirror, draped in a dark cloth at its opening and used by various characters to reflect their image throughout, is left uncovered as characters discover that they need not be afraid of what they see.
With the clock ticking closer to start time our search for our Sydney Independent Theatre Company’s venue became more frantic. But this inauspicious start was quickly forgotten.
Tarantula picks up the story of Lola Montez on July 8, 1856, when returning to San Francisco from an exhausting and scandal-filled Australian tour, Lola’s lover, Noel Folland, disappeared from the deck of the Jane A. Falkenburg and was never seen again, presumed drowned. Using the conceit of a play within a play, Tarantula (premiered here at the King Street Theatre but first read as part of the Griffin Searchlight program) traces the story of Lola’s life by having a contemporary actress, Gina, making a play about her hero.