South Pacific theatre review

The opening scene of South Pacific includes three of its best songs: Cockeyed Optimist, Twin Soliloquies and Some Enchanted Evening.  It sets a high standard.  As the first scene drew to a close I wondered how the remainder of this production would match such perfection.  Yet, throughout Act I, my wonder only increased.  Song upon song is brought to life with style and conviction, and I was reminded how expertly crafted the show is.  And, while it is now very much a period piece, the majority of the script rings true today and feels current.  Could it really be 64 years old?  It is a long way from retirement.

Act II provides a few obstacles - it is rather unevenly paced and many key turning points take place offstage.  Story development stalls for a good 20 minutes or so to make room for a fun, but frivolous, Thanksgiving pageant.  I give thanks to the production team and credit some very clever staging with keeping the audience engaged.  So I cannot fault the direction, lighting, sound, set design or costumes.  What of the performances?

This cast is nigh on perfect.  Mitchell Butel shines as Luther Billis, which is something of a dream role for a character actor.  He appears equally at home with his more tender moments as with those that are purely comic.  Christine Anu, as Bloody Mary, also stands out.  Anu delivers a measured performance, displaying a wide repertoire of vocal tricks and often opting for the understated choice.  This tightly restrained interpretation of a potentially wild character imbues Mary with a high status that makes sense of her presence and her influence.  

But the show belongs to Nellie and Emile.  In these roles Lisa McCune and Teddy Tahu Rhodes are nothing short of exquisite, not to mention perfectly matched.  Rhodes' voice alone could rob a handmaiden of her virtue, while McCune is a true triple threat.  The audience warmed to each of them immediately and their ongoing chemistry proved to be quite the tease, which is essential in selling the final chapter of the play.

See this show to hear two of the purest voices in show business, and to witness an exquisite rendition of one of the most significant theatrical works of the twentieth century.

Midsummer theatre review

During its best moments, Midsummer is riotously funny and tremendous fun.  At other times it drags and the story has a few sticky moments.  I felt that the slower paced moments came not from the writing, but the performers, and could have been overcome with more energetic performances.  Aidee Walker and Dan Musgrove are both adept at holding the stage with a still strong presence, as we often see them in storyteller mode.  But the play comes alive during its more frenetic periods and I would have liked to see the direction make better use of that.  For it is often playful and I loved the extravagant use of simple props such as a bag of money and some pieces of rope.  

I admire Walker's ability to craft an interesting, likable character in Helena, when the script offers nothing to endear us to her, while Musgrove's small-time crook oozes an effortless charm.  These two provide the centre of our love story, but there is a full compliment of crazy supporting characters poking and prodding these two towards each other.  Walker and Musgrove are also responsible for bringing the supporting cast to life, but they do not seem to have as much fun with that as such larger-than-life characters warrant.

Midsummer bills itself as a play with songs, so I have to mention the songs.  There were songs.  They were forgettable, and Walker in particular seemed to be out of her element on guitar.  

Midsummer seems to have been created as a fun, frivolous night out with laughter, music and naughty bits.  Silo's production misses the mark on most of these counts.  It feels more serious than it should.

See this show for the bright moments it contains.  Unfortunately they are fewer than one would hope for.

Prisoners film review

If this film is to be believed, small town America is a frightening place.  The unspecified setting is non-descript, poor, rural and there is no shortage of creepy villagers.  Prisoners examines justice and injustice through the stories of families who lose their young children.  Hugh Jackman is our central figure, who takes justice into his own hands.  This pits him directly against a hard-working police officer who believes following the law is the only way to salvation.  No wait, that's Les Miserables.  No wait, it is Prisoners too!  In this case, though, Jake Gyllenhaal provides the foil to Jackman's loose cannon.  Gyllenhaal's performance is engrossing, helped by his thuggish appearance, which hints at a dark past we are not privy to.  I guess it is easier to make such a stickler for the rules interesting when no singing is involved.

In Prisoners, these two men employ different methods - but ultimately they want the same thing.  For when it comes to the lives of children, don't we all want the same thing?  Every child deserves a warm home and a family who loves them and nourishes their growth.  In Prisoners we see the outcome of children growing up without such positive influences.

The story is very cleverly constructed, and it retains a sense of mystery through to the end.  There are many brutal elements, though, and the tone is generally quite raw.

See this film to enjoy an intriguing, if disturbing, yarn.  

Diana film review

The story told in this boutique biopic is that of the relationship between the most famous woman in the world (in 1995) and a quiet-living heart surgeon.

It is a story with many familiar elements, and a few new ones.  There is a touch of Cinderella and a touch of Notting Hill - but where these stories have a strong structure and are secure in tone, Diana is uneven on both counts.  The film has some rather bold cinematography, but it is a boldness not always matched by the subject matter at hand, so what could have been exciting dramatic choices are more often quite jarring or simply fall flat.  Similarly the dialogue is at times corny, sometimes trite, and seldom natural.

Diana does get some things right, though: Naomi Watts' performance is studied, charismatic and true to the spirit of Diana (I think...I don't remember Diana as well as I probably should); the film demonstrates very well how convoluted and unusual Diana's life had become, while maintaining focus on the simple love story at the its heart.  And there is much examination of hearts: what with her being the queen of people's hearts and him being the in doctor of people's hearts and each of them being a poor caretaker of their own hearts.

I enjoyed the story Diana tells, and appreciate that it does so with a strong point of view.  I would like to think that there is a lot of truth in this version of events.

See this film if you are interested in Lady Di, or to admire her unique way with fashion.  There is much to enjoy in this film, despite some poor craftsmanship putting it together.

Behind the Candelabra film review

The story of Scott Thorson's relationship with Liberace provides rich material for actors and film-makers to play with.  Unfortunately the story is really rather unpleasant, so Behind the Candelabra is a tough film to enjoy.  I loved the kitsch glamour of Liberace's homes and apparel, and I was in awe of Michael Douglas' and Matt Damon's performances.  But the story made me itch more than it made me laugh or cry or think.  There is something very uncomfortable about watching an unhealthy relationship run its course.

Steven Soderbergh is known for his confidence to stray from the safe and formulaic and experiment with new structures for his films.  This film fits that bill with various levels of success.  Soderbergh maintains a consistency despite an unusual structure by keeping the film's focus squarely on Thorson...until he doesn't.  The final act of the film is quite a mess.  I hardly knew where to look anymore.  Similarly the tone of the piece shifts throughout, which I really struggled with.  My favourite scenes were those in which Rob Lowe lifted the tone to that of a light comedy.  My least favourite scenes were those that implied some political axe to grind.  Most of the film, though, was unlike either of these sections.

I would liken this film to a buffet; the viewer is presented with a range of goods, and can take what he wants.  Most of what is on offer is of the very highest quality, but it is hard not to question why the Black Forest Gateau is presented between the Duck Cassoulet and the Meatloaf.

I am not qualified to say how accurate the depiction is to actual events, but I felt that the film was perhaps hampered by trying to portray things faithfully.  In the end it felt like a string of events rather than a story with a heart and a climax.

See this film to witness some of this year's best performances caught on camera.  Just watch it all and take what you like, but I would be surprised if many of us go back for seconds.

Gravity film review

Gravity lives up to its name.  There is weight to the subject matter, despite the matter of the subjects' weightlessness.  Certainly, the film can be enjoyed as a hero story or disaster movie but there is more to it.  It raises questions about being alone in the universe, and weaves a motif of birth, death, and humanity.  I may be making it sound heavy, but these themes are presented in outer space so actually they float freely.  There isn't even any friction!

Sandra Bullock is less action hero and more everyman (her character has a boy's name and amazing legs, so she represents both genders).  For me, that is what makes this film work on a personal level.  At first I struggled to reconcile how a seemingly frail person might realistically have come to be that overachieving medical doctor who transfers to NASA and six months later is freewheeling through space, but soon enough I just got enveloped by the story, for this is a film that transports its audience.  I felt so close to Bullock's character and so close to the action I noticed myself flinching to avoid debris.  The 3D element is effective in immersing the audience in the story, but so too is the cinematography.  There is a remarkable fluidity to the camerawork that gives the impression of the whole 90 minutes being filmed in one take.  Although not all events unfold in real time, many do and this gives the film a relaxed pace that makes the rushed and dramatic moments truly rather stressful.

I am quite in awe of the symbolism Alfonso Cuaron works into his cinematography.  There are many beautiful images that fit perfectly into the story but could represent far more.  It is touches such as these that make Gravity more than only an action/adventure/disaster movie.

See this film for a rollicking ride through space, or a pensive consideration of life's difficult questions.  You choose.

Live Live Cinema: Dementia 13 review

Is it theatre?  Is it film?  Is it a musical event?  Yes to all these.  The concept is interesting: a film is screened without its soundtrack, while all dialogue, music and sound effects are performed live.  This sounds like just a gimmick; does the film gain anything from such a treatment?  Well, that probably depends largely on the source material.  In this case, Dementia 13 is a disturbing and intriguing horror, but it has not aged well and now feels rather unsophisticated.  Providing new character voices and a fresh, original score invigorates an otherwise stale film by emphasising the melodrama in the piece.  This is a fun way to give new life to an otherwise dated artwork.

This unusual format provides unique challenges for the performers.  I was rather impressed at how accurately the live actors matched the lip movements of the film actors.  Similarly, it was impressive and fascinating to watch the Foley artist provides such a vast array of sound effects. 

With so many things competing for audience attention, the experience was initially overwhelming.  I wanted to watch everything at once.  As the story progressed, however, I found I watched the film footage nearly exclusively.  

The film footage, then, must be good for this concept to be successful.  In this case, the film was adequate and I enjoyed the experience due more to the interesting presentation.  I struggle with horror films, though - it is not a genre that appeals to me.  Certainly, a horror fan would have got a lot more out of it.

Overall, the strongest feature was the tremendous original music performed by a seven piece band.  The music was contemporary and catchy and appropriate to the mood.  It was really quite exceptional.  Unfortunately it was also at times too loud to enjoy.  

See this production for a unique experience, particularly if you enjoy horror films.  I see great potential in this art-form and hope to see more of it.