Melanie Tait has unearthed a fascinating story about the British royals.
The last five minutes pin your ears back, leaving you wondering why more of the play didn’t bristle with this intensity, this sense of lives being defined or wasted. Perhaps the curious detachment we feel for most of the 90 minutes may be attributed to mixed intentions on playwright Melanie Tait’s part, veering from satire to weightier emotions.
The structural problem is that by the time Crawfie, the only character capable of winning our hearts, has done so, the play is ending. This is no fault of Blackmore’s performance. Jackman directs the production with technical assurance, having hit upon a delightful scenic vocabulary with designer Michael Hankin that involves minimal, slightly surreal furniture, dolls’ houses, and even a model train.
Directed by Mehhma Malhi with clarity and care, the production is human-first, teasing out initial character sketches into thoughtful, three-dimensional studies that mostly resist shortcuts and stereotypes. Malhi shapes scenes, no matter how quick, to become the centre of the world . But even now, it’s an exciting glimpse, from playwright to creative team to cast, of new artists making their mark.Opera House Concert Hall, September 11by Deborah Cheetham Fraillon laments a war that many Australians haven’t heard of and seeks a peace most yearn for. The Eumeralla Wars were waged between the Gunditjmara people and colonial settlers from the 1830s to the 1860s in what is now south-west Victoria.
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