A baker’s dozen: 2014 theatre in review

OF the more than 200 shows I saw last year, about a third were plays. Dance, opera, musical theatre and cabaret make up the rest. Unfortunately symphonic and chamber music featured very lightly. Can’t do everything, which is why my theatre viewing in Sydney had many gaps, although I don’t believe I missed anything that would make my list. I hate that I see very little theatre in other cities. Would I have adored to see Miriam Margolyes in I’ll Eat You Last at Melbourne Theatre Company? Yes I would. I just couldn’t find a suitable date (and would, anyway, have had to throw myself on the mercy of MTC supremo Brett Sheehy to get in the house, so scarce were the tickets).

I went to Brisbane specifically to see two productions – the Michael Attenborough-directed Macbeth for Queensland Theatre Company and the La Boite-MTC production of Mike Bartlett’s Cock, which I had seen in New York last year. I didn’t care for the Macbeth, which I found somewhat like a drama class, but it did boffo business for QTC and was a more plausible production than Sydney Theatre Company’s “let’s turn the auditorium around” staging. Cock – a provocative and incredibly infuriating, even irritating, play – was undermined for me by its design of a field of soft pillows that were thrown around. One thing this play is not is soft.

I went to this year’s Melbourne Festival primarily to see the Trisha Brown retrospective but thanks to a Thursday matinee was able to see Lachlan Philpott’s The Trouble with Harry, staged by MKA: Theatre of New Writing. I liked it very much, although it doesn’t make my list. Something else I enjoyed greatly was MTC’s Rupert (also not on the list), shortly finishing a commercial season in Sydney. Well, the phrase “commercial season” is close to being an oxymoron when it comes to Sydney and what is quaintly called the straight theatre. There are few theatres, fewer of the right size, and the ones that are available are either hogged by return seasons of big musicals or, like the Theatre Royal, hovering uncertainly on the edge of redevelopment.

I saw many things in New York and London, and will talk about them tomorrow in my International list. There were a couple of beauties, including a superlative production of Caryl Churchill’s Love and Information. I’ll be fascinated to see how Melbourne’s Malthouse copes with its complexities when it puts on its own production next year. First task: get a brilliantly accomplished, totally unflappable stage manager. But more on that tomorrow.

I’m going slightly off-piste here, but I loathe the system, now used virtually everywhere, of giving productions star ratings, as if the piece of theatre were a refrigerator either superbly or deficiently energy-efficient. If plentifully bestowed, stars are a boon to theatre managements as they tout their shows but they reduce the critic to another cog in the publicity machine. They say to the reader – always described as time-poor – don’t bother to absorb the nuances of the discussion; just count the stars and see them twinkle in the advertisements.

My list cannot be described as the “best” plays I saw in 2014. “Best” is a meaningless term. What can be said is that a piece of theatre touched one’s heart, soul and mind more powerfully and lastingly than did others. This is a very personal matter, which is why opinions can differ so greatly. Even in what might think are matters of execution – the appropriateness of a set design, say, or the technical skills of a performer or director – there can be widely divergent views. You should hear the discussions our group has when deciding the finalists and winners of the Sydney Theatre Awards (results announced on January 19).

I love a cracking production of a classic – last year’s Sydney Theatre Company Waiting for Godot, for instance – but am most deeply moved by work that expands and challenges what we think we know about our society. Theatre audiences are overwhelmingly white and comfortably off, but you have only to get on a train to Parramatta to see an infinitely more diverse Australia. And yes, there were plays this year that reflected that.

There are things on my list that didn’t get an incredibly flash production but their virtues shone through. One or two could use a few more drafts. I’ve included three non-Australian works that were graced with exceptional performances.

And one thing I noticed. There are loads of women writers and directors. This was not in any way planned but perhaps points to a breakthrough in which, you know, good people get to do good things. Wouldn’t that be nice?

Finally, there’s nothing more artificial than a list of 10. Yes, we have 10 fingers and 10 toes, so we like that number. Here it has no purpose.

Thirteen plays I loved in 2014, in the order in which I saw them:

Black Diggers, by Tom Wright. Queensland Theatre Company and Sydney Festival (January)

Indigenous Australians signed up for World War I duty in the expectation they would find justice and acceptance on their return. How wrong they were. The rollicking theatriciality and fierce humour were uplifting; the story itself heartbreaking. It was a bit rough and ready on its premiere but who cares? In the centenary year of the declaration of war, it was outstandingly relevant. Wesley Enoch directed.

Ganesh Versus the Third Reich, Back to Back Theatre at Carriageworks (March)

At last Sydney got to see this potent, much-travelled work. The swastika was once a sacred Hindu symbol and the god Ganesh wants to wrest it from the Nazis. At the heart of the matter are questions of who has power and who has the right to tell certain stories, overlain with the certain knowledge that in Hitler’s world the men enacting this play would have faced extinction. It was hold-your-breath, edge-of-the-seat theatre. Bruce Gladwin directed.

Jump for Jordan, by Donna Abela, Griffin Theatre Company (March)

This is such an Australian story. A woman born here of Jordanian parents is both a typical Aussie and someone who has to negotiate the treacherous territory between her parents’ world and her own. Abela’s play energetically dashes between realism, farce and surrealism, but most of all it captures so poignantly the pain migrants must face of leaving behind the sights, sounds, smells, tastes and customs that we call home. It had a terrific cast, in which Doris Younane, as the Jordanian-born mother, was very, very fine. Great set by Pip Runciman too, in which sand spilled into the living room of a suburban Sydney home. Iain Sinclair directed.

Pete the Sheep, based on the picture book by Jackie French and Bruce Whatley, adapted for the stage by Eva Di Cesare, Tim McGarry and Sandra Eldridge. Monkey Baa Theatre Company (April)

Perfect. Just perfect. Pete is a sheep-sheep in a world that reckons there’s only a place for sheep dogs. Pete and his owner beg to differ and they prevail triumphantly. Silly songs, an important lesson in diversity, and fantastic fun for the kids. And for me. Directed by Jonathan Biggins with songs by Phillip Scott.

His Mother’s Voice, by Justin Fleming. bAKEHOUSE Theatre Company at ATYP (May)

His Mother’s Voice could do with some reworking but its subject is entrancing. The play is set mainly in Shanghai during the Cultural Revolution and its aftermath and partly in Canberra, moving between time and place. A mother teaches her son the piano despite the risk, and then the reality, of being persecuted for being bourgeois. For Yang Jia, who was played with understated grace and gleaming intelligence by Renee Lim, music is a universal language. The Chinese apparatchiks who harry her see Western music as the enemy of Chinese music; she sees the two as complementary. When her piano is destroyed Yang Lia finds another, incredibly touching, way of continuing her son’s education in the greats of Western classical music. The politics of the Cultural Revolution collide with international politics, and if at times some of the arguments on the Western side seem a little stilted, Fleming’s portrayal of the contradictions acceptable – necessary? – in Chinese thinking is fascinating. Suzanne Miller directed.

Eight Gigabytes of Hardcore Pornography, by Declan Greene. Griffin Theatre Company and Perth Theatre Company (May)

The title is misleading in one respect because the play is not at all about pornography. But in its expression – so caressing in cadence and so ugly in import – the name brilliantly captures the bleak oppositions that drive Eight Gigabytes of Hardcore Pornography. There have never been so many ways to communicate and so little connection. Never so many goodies to fill the home to overflowing yet so much emptiness. Never so much stimulation available at the tap of a keyboard and such a paucity of genuine satisfaction. This epidemic of unfulfilled desire and coruscating loneliness is dissected with laser accuracy. A man and a woman, both unnamed, meet via a dating site. He is married and obsessively into pornography, she is a nurse with an out-of-control shopping habit. Both have a core of self-loathing covered with a thin layer of coping. He is the greater fantasist and she the more self-aware but they’re both in deep, deep trouble. Steve Rodgers and Andrea Gibbs were devastatingly good. Lee Lewis directed.

Henry V, Bell Shakespeare Company (June)

IN an air raid shelter during the Blitz in London, some young people delve into bookshelves and pull out Shakespeare. Their stage is a room with a blackboard and some rackety shelves, their costumes nothing more than what they can put over their school uniforms. As sirens blare and bombs fall, they put on a play about war. There could be few productions of Henry V scrappier, less heroic or more affecting than this. Essentially a bunch of kids in a confined space put on accents and lark about, yet the simplicity and intimacy pierce the heart as surely as King Henry’s archers at Agincourt routed the French. Director Damien Ryan sees nothing worth exalting in Henry’s pursuit of conquest. He sees the damage and the never-ending trail of misery. Inspired and inspirational.

Kryptonite, by Sue Smith. Sydney Theatre Company and State Theatre Company of South Australia (September)

Sue Smith’s beautifully named Kryptonite throws together politics, sex, international business and race. That combo would sap anyone of their strength. Lian and Dylan meet at university. She is Chinese and scrambling to survive in a system that lets her study here but not earn enough money to keep herself. He’s a laidback Australian with a passion for surfing. They make a connection that, over the next 25 years, waxes, wanes and is buffeted by external forces. The massacre at Tiananmen Square is one of them; the rise of Australian business connections with China is another. I found the part for Dylan (Tim Walter) a little underwritten, but Ursula Mills as Lian was stunning. I’d love to see it again. Geordie Brookman directed.

Children of the Sun, by Maxim Gorky, adapted by Andrew Upton. Sydney Theatre Company (September)

I found this so poignant. A well-meaning bourgeois Russian family fails to see revolution brewing all around them. Well, one of them can but no one takes any notice. There isn’t any malice in their lack of understanding about the society in which they live but that won’t help them in the end. I think we can all see a lesson there. Jacqueline McKenzie and Justine Clarke made me cry. Kip Williams directed.

Howie the Rookie, by Mark O’Rowe. Red Line Productions in association with Strange Duck Productions and Sydney Independent Theatre Company, Old Fitzroy (October)

This was theatre as stripped back as it comes. The two 40-minute monologues that form Howie the Rookie were here performed by Sean Hawkins and Andrew Henry (they are sometimes done by one actor), who took us pell-mell into a particularly violent, mordantly funny and wildly alive part of Dublin. O’Rowe’s extravagant text was given a brilliantly restrained setting by Lisa Mimmocchi of no more than a pile of bottle tops and a couple of chairs. Toby Schmitz directed.

Is This Thing On?, by Zoe Coombs Marr. Belvoir (October)

One stand-up comedienne, five versions of herself at different ages, and a riotous night to be had by all. What could have been a madwoman’s breakfast was held together with awesome, anarchic energy by Susan Prior. Kit Brookman and Zoe Coombs Marr directed.

Switzerland, by Joanna Murray-Smith. Sydney Theatre Company (November)

There’s a famous and famously reclusive novelist, an interloper and the spectre of the novelist’s most enduring character. The three collide in Joanna Murray-Smith’s audacious play, which starts innocuously enough as bio-drama, morphs into a psychological thriller and ends as fantastic realism. Sarah Pierse gets possibly the role of her career as Patricia Highsmith; Eamon Farren is the persistent young publisher’s emissary who wants the author to write another Tom Ripley novel. Sarah Goodes directs with a sure, elegant and witty touch. It runs until December 20.

A Christmas Carol, adapted from Charles Dickens by Benedict Hardie and Anne-Louise Sarks. Belvoir (November)

I adored everything about this. Michael Hankin’s set is spare but full of surprises, Mel Page’s costumes are festive and I had to suppress a desire to run onstage and hug every actor at the end. A Christmas Carol celebrates love and generosity. Amen to that. Anne-Louse Sarks directed. (Fittingly, it runs until Christmas Eve.)

Tomorrow: International theatre ( I promise it will be much shorter)

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