Muller
Fri, 9 Mar 2007, 08:26 amGordon the Optom3 posts in thread
Muller
Fri, 9 Mar 2007, 08:26 am‘Muller’ is melange of several of this author’s short plays. This 35 minute production is showing at the Hayman Theatre at Curtin University until Friday 9th March. Performances at noon.
The Curtin students produce lunchtime shows throughout the year, all of which I see, but rarely do I revue on Theatre.asn. However, under the directorship of Alan Chambers, this show is outstanding at so many levels.
The stories are all about the Nazi regime and its effect on the lives of the people it encounters. On entering the theatre, one is herded past numerous German officers, whilst one stamps your forearm with your tattoo number another pokes you with his rifle. On entering the small upstairs auditorium you are faced on one side with the figure of Christ on the cross. Various soldiers convert the cross by swinging extensions at the ends of the arms to form their beloved swastika.
At the other side of the stage, a cage full of naked wailing, wretched women are clawing at the mesh trying to escape. Then the gas is released to a great cheer from the officers. The tympanic drone of the deafening music dies away and the beautiful soft voice of a lone girl (Angelique Jorre de St Jorre) fills the air. Jesus screams from his cross before he is cut down and the body removed. There then follows short scenes depicting the rape of a woman (Megan Williams) by a selected soldier (Colin Craig), and how they are forced to produce the ‘perfect’ children.
A short very well produced animated film shows how the people will give up their all for the cause.
A group of abandoned soldiers are depicted starving on the battle field. Their paranoia increases with their hunger until they become suspicious of each other, eventually killing one of their own and eating him.
The treatment of the gays is also shown, and how in an attempt to be accepted one kills his family.
Herr Hitler himself (Kelly Paterniti) stomped his way around the stage before giving the Brandenburg address. The soldiers were shown to change from the strong murdering gang that happily killed the women, to the unstable animals who shamelessly fawned, naked at the feet of the fuehrer, in a scene similar to that in ‘2001- A Space Oddity’. On the delivery of a proud new German child, by the Jewish midwife (Ellen Jurik), Hitler slowly changed from his domineering self, enjoying the wild Berlin parties to an insecure impotent being suckled by his new love (Mario Piccoli – dressed like a pantomime dame).
This may sound confusing, but the choreography of the show, combined with wonderful lighting, the low angles gave drama and combined with careful choice of the filter colours, added to the mystery and drama. The sound and music (Andy Harmsen) was appropriate and quite unique.
This play was open to many interpretations and others may have read a different meaning, but one cannot deny the intense work and bravery of the cast to produce this ‘in your face’ play, although strangely not pornographic, thanks to the skilled handling of the director. The pace was relentless and all 14 actors are all to be congratulated.
A rare experience at the theatre.
The Curtin students produce lunchtime shows throughout the year, all of which I see, but rarely do I revue on Theatre.asn. However, under the directorship of Alan Chambers, this show is outstanding at so many levels.
The stories are all about the Nazi regime and its effect on the lives of the people it encounters. On entering the theatre, one is herded past numerous German officers, whilst one stamps your forearm with your tattoo number another pokes you with his rifle. On entering the small upstairs auditorium you are faced on one side with the figure of Christ on the cross. Various soldiers convert the cross by swinging extensions at the ends of the arms to form their beloved swastika.
At the other side of the stage, a cage full of naked wailing, wretched women are clawing at the mesh trying to escape. Then the gas is released to a great cheer from the officers. The tympanic drone of the deafening music dies away and the beautiful soft voice of a lone girl (Angelique Jorre de St Jorre) fills the air. Jesus screams from his cross before he is cut down and the body removed. There then follows short scenes depicting the rape of a woman (Megan Williams) by a selected soldier (Colin Craig), and how they are forced to produce the ‘perfect’ children.
A short very well produced animated film shows how the people will give up their all for the cause.
A group of abandoned soldiers are depicted starving on the battle field. Their paranoia increases with their hunger until they become suspicious of each other, eventually killing one of their own and eating him.
The treatment of the gays is also shown, and how in an attempt to be accepted one kills his family.
Herr Hitler himself (Kelly Paterniti) stomped his way around the stage before giving the Brandenburg address. The soldiers were shown to change from the strong murdering gang that happily killed the women, to the unstable animals who shamelessly fawned, naked at the feet of the fuehrer, in a scene similar to that in ‘2001- A Space Oddity’. On the delivery of a proud new German child, by the Jewish midwife (Ellen Jurik), Hitler slowly changed from his domineering self, enjoying the wild Berlin parties to an insecure impotent being suckled by his new love (Mario Piccoli – dressed like a pantomime dame).
This may sound confusing, but the choreography of the show, combined with wonderful lighting, the low angles gave drama and combined with careful choice of the filter colours, added to the mystery and drama. The sound and music (Andy Harmsen) was appropriate and quite unique.
This play was open to many interpretations and others may have read a different meaning, but one cannot deny the intense work and bravery of the cast to produce this ‘in your face’ play, although strangely not pornographic, thanks to the skilled handling of the director. The pace was relentless and all 14 actors are all to be congratulated.
A rare experience at the theatre.
Gordon the OptomFri, 9 Mar 2007, 08:26 am
‘Muller’ is melange of several of this author’s short plays. This 35 minute production is showing at the Hayman Theatre at Curtin University until Friday 9th March. Performances at noon.
The Curtin students produce lunchtime shows throughout the year, all of which I see, but rarely do I revue on Theatre.asn. However, under the directorship of Alan Chambers, this show is outstanding at so many levels.
The stories are all about the Nazi regime and its effect on the lives of the people it encounters. On entering the theatre, one is herded past numerous German officers, whilst one stamps your forearm with your tattoo number another pokes you with his rifle. On entering the small upstairs auditorium you are faced on one side with the figure of Christ on the cross. Various soldiers convert the cross by swinging extensions at the ends of the arms to form their beloved swastika.
At the other side of the stage, a cage full of naked wailing, wretched women are clawing at the mesh trying to escape. Then the gas is released to a great cheer from the officers. The tympanic drone of the deafening music dies away and the beautiful soft voice of a lone girl (Angelique Jorre de St Jorre) fills the air. Jesus screams from his cross before he is cut down and the body removed. There then follows short scenes depicting the rape of a woman (Megan Williams) by a selected soldier (Colin Craig), and how they are forced to produce the ‘perfect’ children.
A short very well produced animated film shows how the people will give up their all for the cause.
A group of abandoned soldiers are depicted starving on the battle field. Their paranoia increases with their hunger until they become suspicious of each other, eventually killing one of their own and eating him.
The treatment of the gays is also shown, and how in an attempt to be accepted one kills his family.
Herr Hitler himself (Kelly Paterniti) stomped his way around the stage before giving the Brandenburg address. The soldiers were shown to change from the strong murdering gang that happily killed the women, to the unstable animals who shamelessly fawned, naked at the feet of the fuehrer, in a scene similar to that in ‘2001- A Space Oddity’. On the delivery of a proud new German child, by the Jewish midwife (Ellen Jurik), Hitler slowly changed from his domineering self, enjoying the wild Berlin parties to an insecure impotent being suckled by his new love (Mario Piccoli – dressed like a pantomime dame).
This may sound confusing, but the choreography of the show, combined with wonderful lighting, the low angles gave drama and combined with careful choice of the filter colours, added to the mystery and drama. The sound and music (Andy Harmsen) was appropriate and quite unique.
This play was open to many interpretations and others may have read a different meaning, but one cannot deny the intense work and bravery of the cast to produce this ‘in your face’ play, although strangely not pornographic, thanks to the skilled handling of the director. The pace was relentless and all 14 actors are all to be congratulated.
A rare experience at the theatre.
The Curtin students produce lunchtime shows throughout the year, all of which I see, but rarely do I revue on Theatre.asn. However, under the directorship of Alan Chambers, this show is outstanding at so many levels.
The stories are all about the Nazi regime and its effect on the lives of the people it encounters. On entering the theatre, one is herded past numerous German officers, whilst one stamps your forearm with your tattoo number another pokes you with his rifle. On entering the small upstairs auditorium you are faced on one side with the figure of Christ on the cross. Various soldiers convert the cross by swinging extensions at the ends of the arms to form their beloved swastika.
At the other side of the stage, a cage full of naked wailing, wretched women are clawing at the mesh trying to escape. Then the gas is released to a great cheer from the officers. The tympanic drone of the deafening music dies away and the beautiful soft voice of a lone girl (Angelique Jorre de St Jorre) fills the air. Jesus screams from his cross before he is cut down and the body removed. There then follows short scenes depicting the rape of a woman (Megan Williams) by a selected soldier (Colin Craig), and how they are forced to produce the ‘perfect’ children.
A short very well produced animated film shows how the people will give up their all for the cause.
A group of abandoned soldiers are depicted starving on the battle field. Their paranoia increases with their hunger until they become suspicious of each other, eventually killing one of their own and eating him.
The treatment of the gays is also shown, and how in an attempt to be accepted one kills his family.
Herr Hitler himself (Kelly Paterniti) stomped his way around the stage before giving the Brandenburg address. The soldiers were shown to change from the strong murdering gang that happily killed the women, to the unstable animals who shamelessly fawned, naked at the feet of the fuehrer, in a scene similar to that in ‘2001- A Space Oddity’. On the delivery of a proud new German child, by the Jewish midwife (Ellen Jurik), Hitler slowly changed from his domineering self, enjoying the wild Berlin parties to an insecure impotent being suckled by his new love (Mario Piccoli – dressed like a pantomime dame).
This may sound confusing, but the choreography of the show, combined with wonderful lighting, the low angles gave drama and combined with careful choice of the filter colours, added to the mystery and drama. The sound and music (Andy Harmsen) was appropriate and quite unique.
This play was open to many interpretations and others may have read a different meaning, but one cannot deny the intense work and bravery of the cast to produce this ‘in your face’ play, although strangely not pornographic, thanks to the skilled handling of the director. The pace was relentless and all 14 actors are all to be congratulated.
A rare experience at the theatre.
stingerFri, 9 Mar 2007, 01:45 pm
Deja Vu?
I could have sworn I saw this review somewhere else recently.
By the way, Gordon. Are you still on the board of Hayman Theatre?
Ssstinger>>>
Gordon the OptomSun, 11 Mar 2007, 12:42 pm
Board of the Hayman Theatre ????
Hi Stinger
I'm not too sure that the Hayman Theatre has a Board, it is a university course subject run by the department. Certainly I have never been on it, if it exists, or any other discussion group concerned with its running.
All the best, Gordon the optom.