In Suzie Hardgrave's The Disappearing Trilogy, gender and character come under the spotlight with an actor expressing her confusion and uncertainty on what it means to be both a woman and a performer. Where does one end and one begin? Can they co-exist, or will one eventually cease to exist?
Hardgrave displays outstanding skill in her writing and acting with each of the three episodes, which partners her thesis on the topic of “the actress”, and performance and construct of gender and character. The first episode has Hardgrave lamenting a one-star review after a show has closed and determining her self-worth. The second, which is the most engaging, has her using her body to explore the demands and expectations placed upon a performer as a pre-recorded narrator verbalises what we are seeing. The final episode has the actor step out from the confines of the stage and attempt to speak to us as a genuine person.
An elderly woman sit patiently, but also impatiently, on a chair. She is waiting. For what, we do not know. Eventually a young woman arrives and begins to tend to her. As she does, they recall and share stories that bind them together. Written by acclaimed French writer Marguerite Duras, Savannah Bay explores memory and identity and how these connect us with others.
There's a strong bond between the two actors, Brenda Palmer and Annie Thorold. They allow their characters to exude a reciprocal compassion and sincerity. When The Young Woman is undressing and dressing Madeleine, there is plenty to take from that moment as to the dynamics of the relationship of these women and where they are at in their lives. There are instances throughout the show that capture this so intelligently and sensitively.
When Bernie Dieter gets her gang of punks, freaks and weirdos together you can be sure you're in for a night of rousing cabaret, burlesque and circus. With a number of rotating guest artists, Little Death Club allows everyone in the spiegeltent to shed their inhibitions and simply celebrate everything that makes them distinct and unique.
Dieter's displays perfect levels of charm and sassiness as our host, with her audience banter remaining playful and cheeky as she coaxes one person to let out a loud orgasm to show his appreciation of the performance. Her original songs, including catchy titled gems like "Lick My Pussy" and "Dick Pic", leave everyone wanting to hear more of her distinct voice and unexpectedly relatable lyrics.
Outside the venue of Forgiveness are
a number of vintage suitcases set up in three piles. Each pile has an open
suitcase with a question written on it in relation to the show's title. One,
for example asks, “is there anything you wish you hadn’t forgiven?” We are
encouraged to reflect on these questions and write down our answers before
placing these papers into their respective case. And so we begin to ponder what
hand forgiveness has played in our lives. As we do this, a roving performer
holds a suitcase on his back, struggling to walk around the foyer with the
heaviness of the object he carries. Presented by Monash University Centre for
Theatre and Performance and Barking Spider Visual Theatre, Forgiveness is a
reflective piece of visual theatre, exploring forgiveness through an individual
and a national lens.
"It makes life so much easier when everybody knows its time", says
one character in Belinda Lopez's The Window Outside. Presented as part
of the Victorian Seniors Festival, the play explores the relationship
between a family when tragedy strikes and tough decisions need to be
made. Everyone is reaching boiling point after Frank has had a stroke,
Evelyn is showing signs of dementia and their two adult daughters are
unable to continue caring for their parents.
Carrie
Moczynski reprises her role as Evelyn after playing her seven years ago
in a season at La Mama. Her portrayal is once again laced with a loving
vulnerability and determination and even though she doesn't explicitly
state it, there are traces of acknowledgement that her mind is slowly
deteriorating. Ian Rooney's performance relies on his body language and
facial expressions to tell his story. He does a great job of
highlighting the spark of life he once had and how it has now left him.
As his oldest daughter Sharon states in one scene, he is but a shell of
what he was, which the flashbacks also do well in supporting.
In Suzie Hardgrave's The Disappearing Trilogy, gender and character come under the spotlight with an actor expressing her confusion and uncertainty on what it means to be both a woman and a performer. Where does one end and one begin? Can they co-exist, or will one eventually cease to exist?
