THE INHERITANCE PARTS 1 & 2 (PLAY)

Written by Matthew Lopez

Directed by Jarrad West

Everyman Theatre production

ACT HUB Theatre, Kingston to November 2

 

Reviewed by Len Power 12 October 2024

 

Inspired by E.M. Forster’s novel, Howard’s End, the past, present and future collide in Matthew Lopez’s play about love and legacy in the queer community. Focussing on a young group of friends in New York from about 2015, the play moves back and forth in time, showing how the past shapes and informs their current existence as well as their future.

Eric is a New York City lawyer trying to keep his family’s apartment; his boyfriend, Toby, is a successful but abrasive writer, living in a state of denial. From there, a web of touching and heartbreaking stories unfolds, remembering the dead and calling on the living to keep looking forward. E.M. Forster himself is on hand to offer comment and advice.

Lopez keeps the story moving swiftly with literate dialogue and deeply etched characters. The characters self-narrate, giving a theatrical immediacy and style to the play that is highly effective. Gay politics, past and present, and the AIDS crisis are discussed, as well as class divisions, personal survival, healing and a sense of belonging, while America faces a troubling future.

Director, Jarrad West, and his ensemble cast of 13 bring this stirring play brilliantly to life. A central square main acting area is reminiscent of a boxing ring where the battles of life take place. Raised levels either side cleverly represent other rooms and locations.

Joel Horwood (Toby) and James McMahon (Eric)

James McMahon gives a calmly sensitive and moving performance as the lawyer, Eric. Joel Horwood is superb as the self-destructive writer, Toby, and Andrew Macmillan skilfully plays the two roles of Adam and Leo, both men damaged emotionally in different ways.

There is also fine work from Rhys Robinson as businessman, Henry, and Karen Vickery as Margaret, the mother of an AIDS victim.

Duncan Driver (Morgan) and cast members

Duncan Driver plays Morgan (E.M Forster) with a wry and matter of fact elegance, as well as another key character in the story, Walter. Both parts are played by Driver with skill and a notable warmth.

The rest of the cast play a kind of Greek chorus throughout the play, commenting and pushing the narrative forward, but they also have their individual character moments to shine.

This epic play in two parts is a highly memorable and emotional theatrical experience. It’s a story set in the queer community, but its message of love, loss, hope and healing will resonate with everyone.

 

Photos by Janelle McMenamin and Michael Moore

This review was first published by Canberra CityNews digital edition on 13 October 2024.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

  

THE BOY FROM OZ (MUSICAL)

Book by Nick Enright

Music and lyrics by Peter Allen

Directed by Kirsty Griffin

A Free Rain Theatre production

The Q Theatre, Queanbeyan to October 20

 

Reviewed by Len Power 4 October 2024

 

First opening in 1998 in Sydney, ‘The Boy From Oz’ achieved great popularity and a long run on stage with Todd McKenney as Peter Allen. Taken to Broadway with Hugh Jackman in the lead, it repeated its popularity throughout its limited run. It remains a popular musical in revivals around Australia.

Peter Allen was a larger-than-life figure for much of his later career, finding success as performer, singer and song-writer. The book of the show provides glimpses into his life from childhood in a New South Wales country town to the glittering lights of Broadway, using many of his popular and enduring songs along the way.

Jared Newall as Peter Allen

The performer who plays the marathon role of Peter Allen must have charisma, energy and strong vocal ability. Free Rain Theatre made a fine choice in casting Jared Newall in the role. His high energy performance, acting ability and fine singing capture the essence of Allen the man and performer. His singing of ‘Tenterfield Saddler’ and ‘Once Before I Go’ are particular highlights, topped only by his performance of the rousing ‘I Go To Rio’ with the company at the end of the show.

Jared Newall as Peter Allen with the 'Rockettes'

Janie Lawson gives a fine performance of great warmth as Allen’s mother, Marion Woolnough. In her capable hands, the level of emotion she brought to the song ‘Don’t Cry Out Loud’ was another highlight of the show.

The roles of Judy Garland and Liza Minnelli are difficult to play, given the well-known and unique characteristics of these performers. Meaghan Stewart as Garland and Stephanie Bailey as Minnelli give a sense of these of these personalities without making the mistake of trying to copy them. Both strong singers, they performed their songs very well.

There are many other effective performances from the large cast and many of the ensemble had cameo roles as well.

The large amount of choreography by James Tolhurst-Close and Kristy Griffin matched the dancing styles of the time periods of the story. It was danced with high energy by the ensemble, who also sang very well. Their singing of ‘I Still Call Australia Home’ with Jared Newall almost stopped the show.

The orchestra, conducted by Ian McLean, gave a rousing performance of the many songs in the show. 

The show moves with speed and energy and has been efficiently directed by Kirsty Griffin. The messy-looking words painted on the floor were a distraction and the set was minimal and uninteresting. The soundscape before the show was too loud and was such a jumble of words and sounds that it was annoying rather than atmospheric.

The ensemble of 'The Boy From Oz'

Overall, this is a good production with fine performances, singing and dancing. The cast display the life and times of Peter Allen with great appeal, making this an enjoyable show.

Photos by Janelle McMenamin

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.

GHOSTLIGHT (FILM)

Screenplay by Kelly O’Sullivan

Directed by Kelly O'Sullivan and Alex Thompson

Vendetta Films

In Cinemas from October 10

 

 

Reviewed by Len Power 2 October 2024

 

Performing in live amateur theatre, people often discover a tremendous sense of community and even healing as they strive for a common goal. While analysing the characters they are to play or interact with, they can find themselves confronting their own desires and fears.

“Ghostlight”, centres on Dan, a melancholic middle-aged construction worker grieving over a family tragedy. Cut off from his devoted wife, Sharon, and talented but troubled daughter, Daisy, Dan finds comfort and community in a misfit company of amateur actors. While moonlighting in a low-rent production of Shakespeare’s tragedy, “Romeo & Juliet”, Dan is forced to confront his buried emotions.

Touching and at times gently funny, this is a story of a family shattered by tragedy and how they unexpectedly begin to recover.  Real-life acting family Keith Kupferer (Dan), Tara Mallen (Sharon) and Katherine Mallen Kupferer (Daisy) play these family members with tenderness and authenticity. Keith Kupferer gives a particularly intense and powerful performance as father and husband, Dan, a man who initially finds it difficult to get in touch with his feelings until confronted with his onstage character’s reaction to the death of a much-loved person.

Tara Mallen and Katherine Mallen Kupferer as mother and daughter also give fine, believable performances. Dolly De Leon as Dan’s co-star in the play is nicely quirky and strong, while the performers playing unskilled amateur actors struggling to find their characters in the play are both funny and real.

Watching this family coming to terms with tragedy bit by bit is moving and cathartic. It’s quite intense as we feel the pain of these people and share their joy at the end.

The sensitive subject matter is nicely directed with great sensitivity by Kelly O’Sullivan and Alex Thompson, making this a highly memorable film.

 

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.