Sunday, 1 February 2015

Daylight Savings at The Pavilion Theatre

Flick (Shelley Casey) and Josh (Luke Hawkins), Daylight Saving. Courtesy of The Pavilion Theatre.
How often have you engaged someone in conversation only to feel as if you're participating in a game of tennis - back and forth, back and forth - until someone drops the ball. It's this principle that is at the heart of Daylight Savings, The Pavilion Theatre's first production for 2015. Flick (Shelley Casey) and Tom (Richard Ifield) are married. She's a popular chef and he's a tennis coach. From the very first scene it becomes obvious that while they have been married for seven years their lives are spent very much apart. Tom takes off for Los Angeles to babysit his tennis star Jason (Tim Robertson) and completely forgets their wedding anniversary. Coincidentally it is at this moment that Flick's first love Josh (Luke Hawkins) is over from America and she organises a nice dinner for them.

It is clear that Josh wishes to rekindle their romance despite the fact it's been 20 years and Flick's married. Subsequently she is very torn between the fond memories of a past love and the cold reality of her lonely marriage. Just as you feel as if infidelity is a mere sweet word away, enter Stephanie (Anthea Brown), the neigbour, whose boyfriend has given her up for lent. But hers is not the only intrusion, enter Bunty (Julia Griffith), Flick's meddling mother who oozes North Shore snobbery and the biggest interruption of all - the constant ringing of the telephone.

Suddenly Tom appears - home early - and rightly assesses the situation for what it is and Flick is faced with a choice - which I won't reveal here - you'll have to see it for yourself.  

Set in a house overlooking Sydney's Pittwater, the set design (by Jewell Johnson) is exceptional. 25 lights are used to represent the changing lights over the water and the floor is constructed to look like a tennis court. Throughout the production the characters move between games of singles and doubles depending on what is occurring on stage. It's this subtlety that makes this productions so brilliant.

Standout performances by newcomer Shelley Casey as Flick and Richard Ifield who perfectly embodies the 1989 yuppie stereotype of Tom. Julia Griffith as Bunty had the audience in stitches every time she was on the stage and there was great comic banter between Anthea Brown as Stephanie and Luke Hawkins as Josh. If there was one performance that stole the show it was another newcomer Tim Robertson as Jason, the spoilt, clairvoyant believing, health food eating 21 year old tennis star. He is absolutely hilarious and scarily believable. This group of misfits are well cast and the chemistry on stage is perfectly pitched to produce a witty, entertaining and thoroughly enjoyable show. Game. Set. Match. 
Daylight Saving runs until the 21st February, 2015. Bookings can be made through the website.
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Journey's End at the Seymour Centre

Courtesy of the Seymour Centre.

RC Sheriff’s play Journey’s End presents a harrowing account of his own experiences as an officer in the trenches during the First World War. It was first performed on December 9th, 1928 at London’s Apollo Theatre by the Incorporated Stage Society and starring a very young Laurence Olivier. The play gives the audience a glimpse into life in the trenches in Saint-Quentin, Aisne, in 1918 near the end of the war through the experiences and hardships of a British Army infantry company.

Read the full article on the AU review.
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Life Interrupted: Personal Diaries from WWI

Courtesy of the State Library of NSW.

It was at the end of the First World War in 1918 that the then Public Library of NSW began to collect the diaries and personal letters of those who had been involved in the conflict. These weren't only soldiers, but doctors, nurses, journalists and artists. The collection now contains around 1100 volumes of diaries from some 550 servicemen and women. In the exhibition, Life Interrupted, these personal accounts are supported through photographs, newspapers, maps and artwork while presenting the honest and at times heartbreaking reality of WWI.

Read the full article on the AU review.
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