Smart Artz Theatre Inc welcomes reviewers from the Victorian Drama League to attend performances for the purpose of writing reviews. The reviews are then published on the Victorian Drama League website. The reviews for our last three productions are replicated here, as reviews are only able to be viewed by VDL members.

REVIEW: OEDIPUS THE KING

Reviewed by Deborah Fabbro, 31st May 2024

‘Oedipus The King’ is on the 2024 VCE English Text list and therefore an appropriate choice of play for Smart Artz to present this year, especially as they did a dedicated performance for schools with a Q&A.

Director Amy Anselmi, who also appears on stage as a Priest of Zeus, has chosen to set her production of this Greek tragedy in the present day and the city of Thebes has become Thebes Tech and Oedipus is the CEO and Creon is the chairman of the board. Sophocles’ themes of fate versus free will (control of destiny), morality and hubris are still as relevant in the present day as they were when he wrote it in the 5th century BCE. Human nature doesn’t change.

The very smart, sleek set takes us into the boardroom of Thebes Tech with a central board table and oversize round ottoman on stage right, all in a monotone palette except for the two blue office partition-like walls upstage right and left, one of which was a scrim that was lit for Jocasta’s scene – very effective. Hanging on these panels were SR – bronze Greek God Sphinx and SL – grey Photo board of the “Board”. Suspended across the front of the stage was a set of five bronze coloured Greek God symbols. This colour palette was also carried across to the costuming (Juliet Hayday), with just a couple of strategic splashes of colour. Garments echoed the corporate vibe with business suits and, for the chorus, polo shirts with the Thebes logo. This logo and the Corinth one (which appeared on the Messenger’s satchel) were artistically designed by Brandi Galpin.

Shane Podolski’s lighting was stunning; cool for the boardroom and warmer when the chorus were performing and wonderfully spectral during Oedipus’ confession. 

Making his stage debut in the role of Oedipus was Eashaan Dassanayaka. This was a huge role to undertake as Oedipus is rarely off stage so kudos to Eashaan, also to the director for encouraging a new actor. Eashaan’s physical presence on stage was strong and, through this, he captured the arrogance demanded for the character. I did want his diction to be a little more defined but still, a notable debut performance. 

Also a newcomer to Smart Artz, though not to theatre, Tanya Mock handled the challenging role of Jocasta, the Queen of Thebes, very well and conveyed the conflicting characteristics of Jocasta (you’ll have to read the play to know what they are!) with conviction. Scott Robinson was impressive in the role of Creon embodying the character’s voice of reason and calm. As Oedipus’ Assistant, Sophie Koschmann moves around the stage in a confident way and captures the emotion well. Veteran Melbourne performer, Juliet Hayday takes on a gender-fluid portrayal of Tiresias, the blind prophet, in a well-measured performance. 

Making brief appearances, were Teresa Bottoms as the Messenger and Noel Whiteside as the Shepherd. The Chorus – Akala Heinzel, Brandi Galpin, Elsbeth Schneider and Louis Willemson – worked well together as an ensemble, both vocally and in movement. Their choreography was particularly well thought out and well executed to advance the story being played out. Completing the cast were Lilah Moore as Ismene and Stella Moore as Antigone, Oedipus’ young daughters who briefly appear as Oedipus is being led away from Thebes after his fall from grace. Both girls were nicely portrayed and conveyed their distress and confusion at what has happened to their father. Particularly touching was the elder comforting the younger.

Underscoring the cadence of the language was a fabulous soundscape, at times gentle, other times a rhythmic, pulsing beat. The opening piece of music was excellent as the action set the scene for what was to come.

I hope the students who saw the production took as much from it as I did, and I’m not even studying it!

(originally published on the Victorian Drama League website, www.vdl.org.au)

REVIEW: SHUDDERSOME – TALES OF POE

Reviewed by Deborah Fabbro, 20th April 2023

‘Shuddersome: Tales of Poe’ was presented by Smart Artz Theatre Company in the old, somewhat dilapidated, Star Cinema in the town of Dimboola as part of the Wimmera Steampunk Festival. The theme for the festival this year has re-imagined Dimboola as a 19th-century outpost for time-travellers and the festival is celebrating fanciful stories and the meeting of Victoriana and the modern day. The perfect platform for a play that has taken six of Edgar Allan Poe’s works and transformed them into a 70-minute performance piece. The venue also suited as we felt we were stepping back in time with the building’s pressed-metal ceiling and aged look. Even the tatty curtains added to the gothic feel.

Poe was quite prolific during his brief life of only 40 years in the first half of the 19th-century. He wrote, predominantly, short stories and poems that embraced the world of mystery, the occult and the macabre. His writing very much focused on the structure of the language, the sound and the rhythm, and he used assonance, alliteration and repetition to create works that have a lingering, lyrical feel. The six pieces chosen by American writer and theatre educator, Lindsay Price, for ‘Shuddersome’ amply reflect Poe’s style and gives the actors much scope to create the literary aspects of the works.

Director, Larissa Riddell, has coached her actors in conveying the tone of the pieces and they captured the cadence of the language well, though sometimes the story of the piece became a little erroneous and the gothic horror of it was not quite captured.

An ensemble of fourteen performers played multiple roles including the Shudders. They were led by Grace Risson as Rosalie Mackenzie Poe (Edgar’s sister). Seated in the middle of the audience, Ms Risson created a formidable presence as she introduced the pieces and gave a little commentary on them and on her brother. 

The use of the space was effective. A 70-80cm high platform was erected in front of the venue’s stage. This platform had a fabric skirt allowing performers to “disappear” under it. (The disappearance and transforming of characters was well staged.) It was set with two velvet-covered, studded, smoky grey armchairs which were variously moved to create the setting for the pieces they were used in. In some pieces no props were used, just creative movement to portray the story of the piece. We, the audience, were seated on an eclectic mix of sofas, armchairs and easy chairs that were placed in a U shape from the platform, with a raised tier behind the first row. This space was “lit” by lamplight to create atmosphere. The sizable rectangle on the floor gave a performance space which was well utilised with effectively choreographed movement of the performers. 

It is not possible to comment on all the various performances by the cast across all the pieces except to say that they all worked hard and truly were an ensemble. A couple of particularly notable moments for me were Carl Gasparini as Robert Jones in ‘Lionizing’. The Voices – Adam Roche, Haylie Mibus, Larissa Riddell, Lou Kelly and Tim Weber – in ‘The Raven’. In ‘The Oval Portrait’ there is no dialogue and the story is told through dance and mime. Amy Anselmi’s choreography was well interpreted by Neeve Kelly in the role of Picture Lady.

A highlight of this production was the costuming coordinated by Amy Anselmi and Juliet Hayday; 1880s-style garments, fancy decorated top hats, corsets, dress coats all beautifully embellished with all the usual steampunk accoutrements. And those Raven masks with the goggles!

As we entered the space, there was the sounds of ravens croaking which set the scene for the evening and was picked up by the performers. Lighting was adequate given the limitations of the venue.

It is good to see a company present a different work and this reviewer enjoyed revisiting the works of Edgar Allan Poe.

(originally published on the Victorian Drama League website, www.vdl.org.au)

REVIEW: THE LARAMIE PROJECT

Reviewed by Deborah Fabbro, 9th April 2022

I first saw ‘The Laramie Project’ in 2004, four years after its premiere in the US. I have also seen the sequel, ‘The Laramie Project: Ten Years Later’. 

Written by Moises Kaufman and members of the Tectonic Theater as a response to the murder in 1998 of gay university student Matthew Shepard in Laramie, Wyoming. It tells the story of a crime and its aftermath; the associated homophobia, hate and intolerance but also the compassion and desire of the community to effect change out of such a brutal occurrence. Themes which still resonate today.

The play is presented as verbatim theatre drawing on the interviews the theatre company conducted, the company members’ own journals and published news articles. 

Since my first viewing of this play I have seen several productions, and each brings its own approach to this story. There is something about the story that keeps drawing one in. It is raw, emotional and very moving and stays with one long after leaving the theatre. I can still recall Denis Shepard’s speech from that first production.

Smart Artz Theatre originally cast their production in late 2019 then, like so much live performance, rode the rollercoaster that was/is Covid. I am pleased that they, despite an offer from the Horsham Town Hall to record a live-streamed version, held off and after some recasting in 2021 were finally able to bring their production live to the stage. 

Their commitment and hard work was evident. The very accomplished cast of 12 actors – Adam Roche, Alayna Toporzisek, the director Amy Anselmi, Annika Livingstone, Beau Ladlow, Carl Gasparini, Jayden Robertson, Jillian Pearce, Josh Lloyd, Larissa Riddell, Malachy O’Brien and Simon Risson – present over 60 characters who range from members of the Tectonic Theater to the inhabitants of Laramie, who include a homophobic preacher, the town governor, various police personnel, bar-tenders, doctors, university students and even a gay faculty member. This unified ensemble morph from one character to another effortlessly. It’s all in their body language, vocal modulation and minimal use of an item of clothing or prop to convey a character. And when that character reappears we, the audience, immediately know who they are. 

This is a very complex play but the open stage with just a chair for each actor which at times becomes a prop to mimic something else, and the occasional well thought out projections allowed the narrative of the story to shine through. Director, Amy Anselmi, has a sensitive guiding hand and her background as a choreographer and dance teacher shows in her staging of the production, with wonderfully perceptive placement of actors along with subtle but dramatic and effective telling of a story that cannot be forgotten. Shane Podolski’s lighting design beautifully enhanced the production as does the soundscape.

Smart Artz presented a highly effective and moving production that shows just how theatre can keep important issues to the forefront of general perception.

The director closes her notes in the programme saying “To the people of Laramie, Wyoming, to the Shepard family and to Matthew, I hope we have done you justice.”

I would venture that she, her cast, crew and all involved with this production certainly have.

Note: Not originally scheduled to review this production, I have written this review on April 25, 2021 in retrospection having attended the performance on Saturday 9 April, 2022.

(originally published on the Victorian Drama League website, www.vdl.org.au)