Category: ff2002

Shedding Light – Australian Rules

@ Her Majesty’s Theatre

10:30am, Wed 6 Mar 2002

Score: 8

Short Review: Gamut of Emotions

Another flick in the “F5” sub-Festival, “Australian Rules” (IMDB reference) is based on Phillip Gwynne’s book, “Deadly, Unna?”. It tracks the tensions within the (fictitious) South Australian town of Prospect Bay, which uses football as the common denominator between the Aboriginal and white communities – and ultimately fractures the soul of the town.

Seen purely as a film, this is a wonderful achievement. First-time director Paul Goldman does a terrific job, and the cast is almost faultless. The plot does contain the odd cliche, but doesn’t suffer. Best of all, the film forces the watcher to run the whole gamut of emotions. Great stuff.

However, during the following Q&A session with the production team & actors, it became evident that a certain amount of controversy has dogged this movie. Since I’ve had my head buried in the sand lately, I asked a neighbour what the fuss was about, and was told that a few events involving Aboriginals in the film had been a little too close to recent real-life events, and that the consulted Aboriginal communities had objected to their inclusion in the film. (The same person also complained that the movie strayed from the book, adding in a love story).

Well, ignoramus me being, I can’t comment either way on those issues. Still, great movie.

El Nino

State Opera SA @ Festival Theatre

7:30pm, Tue 5 Mar 2002

Score: 6

Short Review: Hmmmmm…

“El Nino” is very much the flagship production for the 2002 Festival of the Arts and, while offering some interesting bi-lingual operatics, one certainly hopes this is not the highpoint of the Festival.

Dealing with the miracle of Mary’s impregnation, up to several days after Jesus’ birth, the libretto is (apparently) sourced from many Biblical texts, as well as a selection of poetry. In addition to the operatic piece, there is a much-publicised film by ex-Festival Director Peter Sellars that runs silently in the background (just below the surtitles), highlighting the experiences of the principal players.

Well, now for the critical stuff: “El Nino” is presented in two acts, which I’m going to call Good Act and Bad Act, respectively. Good Act opens with some magnificent singing from the Chorus, beautifully arranged. The soloists… well, more on them in a minute. The film was well directed, the “acting” perhaps a little dodgy, but it’s essentially background material anyway. And the end of this act (leading to the birth of Jesus) was sheer aural bliss.

Then came the second… er, Bad Act. The wonderful arrangements for the Chorus disappeared, the film was dull and repetitive and lifeless and repetitive and lifeless and repetitive. And then came the Children’s Chorus. I saw the kids come onstage and instantly thought, “oh no…”. Some people actually left at this point, mere moments before the end of the production. Anyhoo, big round of applause from the two-thirds capacity audience who hung around for the second Act (a few left, y’see, and there were gaping holes in the audience before starting).

The Adelaide Symphony Orchestra, as per usual, were excellent. The vocal leads, on the other hand were patchy… I didn’t think much of the opportunities offered to them by the piece, but the two females excelled where the males floundered somewhat – soprano Shu-Cheen Yu was superb throughout, and mezzo-soprano Kirsti Harms suffered only in that she blew all the other vocalists off the stage.

So, at the end of the day, this was an experience – not the flagship operatic sensual tour-de-force that Writing to Vermeer was in 2000, but interesting enough to stay on the right side of the waste-of-money-meter.

Chamber Music Series – El Tango

@ ASO Grainger Studio

6:00pm, Mon 4 Mar 2002

Score: 9

Short Review: Cellish

If you know me, you’re aware of my love of the cello, which approaches almost fetish status. So, given the opportunity, I like to try and eke out some good cello in my ff-plans. So I managed to squeeze “El Tango” into the schedule for my kinky little deep-string fix.

Unfortunately, the first piece played (Salzedo’s “Sonata for Harp and Piano”) was completely devoid of cello – lest it be called “Sonata for Harp and Piano and Cello”, or possibly “Sonata for Cello and Harp and Piano” (since we all know where the goodies are). Or what about just “Sonata for Cello”? But then it’d probably be written by someone else, and you may as well just listen to the seven overdubbed cellos in the opening 30 seconds of ELO’s “10328 Overture”.

Oops, might have to edit that paragraph sometime. Anyhoo, “Sonata for Harp and Piano” was an energetically moody piece, wonderfully played by Alice Giles (on the big vertical thing) and Arnan Wiesel (on the big horizontal thing). We were then treated to a two different threads of work by Astor Piazzolla. “The Four Seasons of Buenos Aires” (Arnan Wiesel – piano, Nicholas Milton – violin, Janis Laurs – Gods gift to the string family) managed to put a Tango-esque tinge on all the seasons; “Summer” was a feisty piece, “Autumn” moody and flighty, “Winter” morosely beautiful, and “Spring” was a bright, bouncy piece. “Histoire du Tango” (Alice Giles – harp, Geoffrey Collins – flute) consisted of three pieces, “Bordel 1900” (light and breezy, almost fruity), “Cafe 1930” (which dripped with a smoky melancholy) and “Nightclub 1960” (a punchy little number).

All pieces were played well, and I’ve got no complaints at all (the cello was awesome) – except for the creaky stage and my SO’s ankle (which made a rather loud CRACK in the middle of one piece). Can’t wait to hear that on the ABC recording.

The Career Highlights of the Mamu

Black Swan Theatre Company @ The Playhouse

2:00pm, Mon 4 Mar 2002

Score: 7

Short Review: Warm and personal

“The Career Highlights of the Mamu” is a very personal piece of work, as seen and told by writer/performer Trevor Jamieson, as he seeks out his homelands and, hence, his identity. Along the way, we encounter the Mamu – or Devil – as the Tjuntjuntarra are forced from their land due to the atomic testing at Maralinga, which is contrasted to the bombing of Hiroshima.

The displacement of the native peoples from Maralinga also brings to light the younger generations movements to Kalgoorlie and the white influences of alcohol and fast food, both of which threaten the traditional cultures. And, despite the weighty matters described, there is still a healthy dose of humour to be had – the discovery of railway tracks is hysterically funny. Good use, too, is made of video cameras on stage, as well as pre-recorded projected sequences and live music.

The most striking thing about this performance is the fondness and warmth shown – only to be expected, really, since it really is a family affair (a large portion of Jamieson’s family joins him on stage). The culture of the Spinifex people is also to the fore, with tribal dances shown for the first time to the outside world (in fact, one reason for the Tjuntjuntarra children’s presence on stage was to enable them to see and learn these dances). This more than makes up for the lack of coherency in the piece.

The Longest Night

Urban Theatre Projects @ Parks Motor Maintenance Shed

7:30pm, Sun 3 Mar 2002

Score: 1

Short Review: Unforgivable

At the show I attended immediately prior “The Longest Night”, William Yang mentioned that he could see hope in the faces of indigenous children.

However, it was especially tragic to see what skills were being offered to the young indigenous people in the workshop preceding “The Longest Night”. The sexes were segregated: boys had the opportunity to be “B-Boys” or rappers, and girls could be “R&B Girls” (complete with “sultry” R&B Top 40 hip moves), or try their hand at acrobatics (tumbling, et al).

If this blatant Americanisation doesn’t send a shiver down your spine… well, I guess you can’t see the writing on the wall.

America – the place where the black population have been marginalised to such an extent that the major role models available are those of sport stars or music stars. And yet, here we are, inviting a culture of subversive racial subjugation into our country with open arms.

And this was just the precursor to “The Longest Night”. After obtaining a coloured ribbon (to segregate patrons into “tour groups”) and watching the youngsters performed their newly-workshopped talents, we went on a bizarre “tour” around the Parks Community Centre campus, the point of which completely escapes me. We were then treated to the performance proper.

And what a performance it was. Using the tried, tested and true theme of “look how drug and alcohol abuse can ruin your life”, we see Bernie first have her child taken away by a government worker. Then her old druggie mates drop by, and her life (and those of her friends) turns to hell. All this is “acted” out using over-the-top theatrics, creating confusing “action” scenes, backed by a bizarre and contrived selection of music.

Yes, I realise that Peter Sellars had placed an emphasis on the representation of indigenous culture, and the involvement of youth, in his planning of the Festival. And I certainly support the intentions of Urban Theatre Projects – their altruism for their work is certainly commendable. However, to pass this piece off as “art” is really, really hard to take.

(As a sidenote, I noticed previous Festival Director Robyn Archer chose a black ribbon, then wore it almost as an armband. Almost apt, really.)

Shadows

William Yang @ Parks Theatre Two

5:00pm, Sun 3 Mar 2002

Score: 8

Short Review: Overt

“Shadows” is a piece that somehow manages to meld the stories of East and West Germany, their reunification, and the theme of Aboriginal reconciliation together. Flanked by two slide-show screens, noted photographer William Yang cruised through a ninety minute monologue, accompanied by a selection of his own photos.

Based on Yang’s travels and experiences with friends, lovers and colleagues, he covers the period from 1980 to the present day. Along the way, he introduces us to the characters central to his discussion – the adopted Aboriginal son of a friend, an ex-boyfriend, and the people that surrounded them. We then follow him on several trips to outback Enngonia, Berlin (both pre- and post-unification), and the South Australian German settlements.

Yang placed particular emphasis on the continual spiritual malaise of the Enngonian settlement, showing the decay of their culture due to the white inputs of alcohol and violence. He also juxtaposed the systematic decimation of the Aboriginal communities in the earlier parts of last century with the genocide inflicted upon the Jewish peoples by the Hitler-led Germans. And yet, despite these weighty matters, Yang still managed to expose his own dry, wry wit – witness the “second best meal” he had in Germany.

Colin Offord provided wonderfully textured, subtle background music – playing flute (in the style of a didgeridoo), some percussive stuff (with his feet), and this uber-woodwind-string-instrument that pretty much defies description. And this was a very enjoyable monologue; it’s just that the political nature of the content was a little… overt for me. As subtle as a brick, that just managed to put a damper in the work that, while optimistic, left me… edgy.

Shedding Light – The Tracker

@ Her Majesty’s Theatre

10:30am, Sun 3 Mar 2002

Score: 7

Short Review: Visually adept

“The Tracker”, the first film on the AFA’s F5 program, is a simple tale following the hunt of an alleged murderer by an Aboriginal Tracker, and the police that enslave him. Written and directed by the acclaimed Rolf de Heer, and produced for the 2002 Festival, it’s a pretty reasonable bit of work.

Filmed near Arkaroola (South Australia), the film is visually splendid – wonderful shots of the very Australian landscapes, and some magnificent images in certain scenes – “that sunrise” (to tell you exactly which sunrise would be a spoiler) is a masterpiece. de Heer also uses oil paintings to describe the violence which takes place, rather than using live action, to wonderful effect.

The plot is simple and linear; my only complaint was that there were points where characters flip-flopped unbelievably – Gary Sweet (as The Fanatic) transforms from The Tracker’s main ally in the party to his greatest nemesis within a scene or two. Likewise, Damon Gameau’s Follower goes from wet-behind-the-ears to Bush Guru almost overnight. Grant Page, as The Veteran, is under-used.

In short, this was a pretty reasonable flick, but just not chunky enough to fully satisfy.

BTW – here’s the IMDB info (as sketchy as it is) on “The Tracker”.

Solos

Ros Warby @ AIT Arts Space

6:30pm, Sat 2 Mar 2002

Score: 9

Short Review: Finesse

This was stunning.

As I’ve remarked earlier, I’ve been seeing a disproportionately large amount of dance this ff… and I had to fight to get a ticket to this “sold out” show (my diatribe about the Adelaide Festival ticketing fiasco will be elsewhere), so it was an extreme annoyance to see one-third of the seats in the AIT Arts Space empty. Obviously, there’s “sold out” and “SOLD OUT”. Anyhoo, I was glad I made the effort.

“Solos” is three solo pieces by Ros Warby. The first, “eve”, was choreographed by Warby herself, and is simply magnificent. Warby dances about the space, between (and up against) screens, which act as recipients for pre-filmed dance and movement pieces also. Some of the screens are translucent, allowing Warby to dance behind an image of herself dancing, while speaking softly to herself – positively freaky. Added to this is the use of carefully positioned spotlights casting Warby’s shadow(s) onto other screens. All this, and the music the piece was set to was sensational.

After a short interval, “Living with Surfaces” was a more mechanical piece, set to phasic experimental music. Using a fluoro green backing wall, Warby remains physically connected to the surface at all times, as she roams about in a gloriously stilted manner, connected to her discretely shifting shadow. After literally climbing the wall, she traces her own outline upon it in an act of self-definition (see, I do read the notes).

At this stage I was in ecstasy; I was ready to give this show an 11. However, the last piece, “FIRE”, saw Warby strutting about the stage chatting indecipherably to herself, occasionally turning to the audience in faux query, and even more occasionally performing something that may be misconstrued as dance. The notes indicate that “the dancer is with out his or her convictions about dance”, but I really couldn’t tell whether she was taking the piss or not. The lack of backing music only enhanced the suggestion that this piece is “ad-libbed”.

However, despite this last piece, I found this performance to be absolutely mesmerising. Go see it, if you get the chance (and dispute any “full house” claims).