The Sapphires
Fri, 29 Jan 2010, 08:33 amGordon the Optom4 posts in thread
The Sapphires
Fri, 29 Jan 2010, 08:33 am‘The Sapphires’ is an Australian play written by Aboriginal actor, Tony Briggs, which won two Helpmann Awards in 2005 - Best Play and Best New Australian work. Co-presented by Black Swan State Theatre Company and Company B. as part of the 2010 Perth International Arts Festival, it is showing at the Playhouse Theatre, Pier Street, nightly at 7.30 until the 10th February, followed by a tour of the Eastern States
After a warm Nyungar welcome on the didge and an explanation of Clan bonding, our host for the evening (Jimi Bani – absolutely magnificent) takes us back to the Tiki Club.
It is the late sixties, a year after the referendum expanding the rights of Aborigines. Four young factory workers, the Koori McCrae sisters from New South Wales, have always idolised the Motown style of music and hope for some of the glory achieved by the Supremes.
We join the sisters, from a family of eight, there is bossy and stern Gail (Christine Anu), the soft and affectionate Kay (Kylie Farmer), and chubby, red-hot and man desperate, Cynthia (Casey Donovan – winner of Australian Idol) as they enjoy a drink in the St Kilda club. The sisters are spotted by a talent scout, Dave (Oliver Wenn), who wants to sign them up straight away.
The younger sister, quiet and pregnant Julie (Hollie Andrew) is at home doing her Cinderella act. At first, Gail is reluctant to have her in the singing group, but Julie joins and they find themselves on their way not to Los Vegas but instead to the Viet Nam front line. There they meet young Joe, a 14 years old, lost Vietnamese boy (played by 23 yrs old, Aljin Abella). One of the girls falls in love with a black American soldier (Kenneth Ransom). Still the war rages, will fame, fortune and love ever come their way?
Tony Briggs has mainly based his play on the true, raw international stage careers of Laurel Robinson, Tony’s mother and Lois Peeler, his aunt. Filled with black sardonic humour, the tale is alluring, as the storyline oscillates from bright, magical music to some very dark and tragic patches.
It is wonderful to see such a strong and talented Aboriginal cast, being able to escape their tiresome everyday label, and being allowed to play characters away from the typecasting often seen on TV programmes, as uncultured 1920s outback riffraff. How rarely they given such a chance to exhibit this quality talent waiting to burst out. Could Motown owe a lot to Aboriginal musical culture?
Wesley Enoch first directed this sincerely genuine and positively cheerful show in late 2004. Here Kyle Morrison assists him when they turn a simple story into a very powerful and energetic spectacle, with some delightful moments.
With all his skills from performing with Boom Crash Opera, as their guitar and keyboard player is Musical Director Peter Farnan. He has great arrangements, ranging from a beautiful four-part harmony version of ‘Yellow Bird’, through to Fontella Bass’s belter ‘Rescue Me’. The vocals from the ‘70s were enhanced by outstanding choreography (Tony Bartuccio). Unfortunately, at times the sound balance was poor and the music so loud and toppy, that the singers were almost shouting to overcome the instrumental accompaniment. I did notice however, that when the band’s podium was moved forward, to the front of the stage, that the balance seemed to noticeably improve – perhaps it is an auditorium problem.
With the theatre audience as the troops and a set design of stylised elements for each scene, the show bubbled along. Some very good props (Richard Roberts), great sound effects (Tom Brickhill), clever lighting (Trent Suidgeest) and magnificent costumes, with the final curtain call being taken with the girls wearing a highly stylised, yet subtle, Aboriginal flag dress - clever.
The audience were enthralled and the whole house gave a standing ovation. Not the technically the best, but certainly a feel good show with an energetic, great finale. Most enjoyable.
‘The Sapphires’ is an Australian play written by Aboriginal actor, Tony Briggs, which won two Helpmann Awards in 2005 - Best Play and Best New Australian work. Co-presented by Black Swan State Theatre Company and Company B. as part of the 2010 Perth International Arts Festival, it is showing at the Playhouse Theatre, Pier Street, nightly at 7.30 until the 10th February, followed by a tour of the Eastern States
After a warm Nyungar welcome on the didge and an explanation of Clan bonding, our host for the evening (Jimi Bani – absolutely magnificent) takes us back to the Tiki Club.
It is the late sixties, a year after the referendum expanding the rights of Aborigines. Four young factory workers, the Koori McCrae sisters from New South Wales, have always idolised the Motown style of music and hope for some of the glory achieved by the Supremes.
We join the sisters, from a family of eight, there is bossy and stern Gail (Christine Anu), the soft and affectionate Kay (Kylie Farmer), and chubby, red-hot and man desperate, Cynthia (Casey Donovan – winner of Australian Idol) as they enjoy a drink in the St Kilda club. The sisters are spotted by a talent scout, Dave (Oliver Wenn), who wants to sign them up straight away.
The younger sister, quiet and pregnant Julie (Hollie Andrew) is at home doing her Cinderella act. At first, Gail is reluctant to have her in the singing group, but Julie joins and they find themselves on their way not to Los Vegas but instead to the Viet Nam front line. There they meet young Joe, a 14 years old, lost Vietnamese boy (played by 23 yrs old, Aljin Abella). One of the girls falls in love with a black American soldier (Kenneth Ransom). Still the war rages, will fame, fortune and love ever come their way?
Tony Briggs has mainly based his play on the true, raw international stage careers of Laurel Robinson, Tony’s mother and Lois Peeler, his aunt. Filled with black sardonic humour, the tale is alluring, as the storyline oscillates from bright, magical music to some very dark and tragic patches.
It is wonderful to see such a strong and talented Aboriginal cast, being able to escape their tiresome everyday label, and being allowed to play characters away from the typecasting often seen on TV programmes, as uncultured 1920s outback riffraff. How rarely they given such a chance to exhibit this quality talent waiting to burst out. Could Motown owe a lot to Aboriginal musical culture?
Wesley Enoch first directed this sincerely genuine and positively cheerful show in late 2004. Here Kyle Morrison assists him when they turn a simple story into a very powerful and energetic spectacle, with some delightful moments.
With all his skills from performing with Boom Crash Opera, as their guitar and keyboard player is Musical Director Peter Farnan. He has great arrangements, ranging from a beautiful four-part harmony version of ‘Yellow Bird’, through to Fontella Bass’s belter ‘Rescue Me’. The vocals from the ‘70s were enhanced by outstanding choreography (Tony Bartuccio). Unfortunately, at times the sound balance was poor and the music so loud and toppy, that the singers were almost shouting to overcome the instrumental accompaniment. I did notice however, that when the band’s podium was moved forward, to the front of the stage, that the balance seemed to noticeably improve – perhaps it is an auditorium problem.
With the theatre audience as the troops and a set design of stylised elements for each scene, the show bubbled along. Some very good props (Richard Roberts), great sound effects (Tom Brickhill), clever lighting (Trent Suidgeest) and magnificent costumes, with the final curtain call being taken with the girls wearing a highly stylised, yet subtle, Aboriginal flag dress - clever.
The audience were enthralled and the whole house gave a standing ovation. Not the technically the best, but certainly a feel good show with an energetic, great finale. Most enjoyable.
costumes
I saw the Saphires on its
Great focus pionting Don!
Great focus pionting Don :) :-)
{"lit by two Patt 23 profiles, the same type of light that Harbour threw out recently."}