Boundary Street
Sun, 6 Mar 2011, 06:51 pmGordon the Optom4 posts in thread
Boundary Street
Sun, 6 Mar 2011, 06:51 pm‘Boundary Street’ by WA playwright Reg Cribb, has been selected as the opening production for the new Heath Ledger Theatre in the State Theatre Centre of WA, 182 William Street, Perth.
This World Premiere was the Winner of the 2009 Rodney Seaborn Playwrights’ Award. It is being presented by the Black Swan State Theatre Company in conjunction with the Perth International Arts Festival and the Brisbane Festival. The two and a half hour play is showing until the 20th March, with performances starting at 7.30 pm.
It is 1942 and Singapore has fallen to the Japanese forces. The north coast of Australia is under aerial attack, and so when the US military arrive in Brisbane, the Queensland Aussies feel just that little bit more secure.
The White Australia policy is strong and as a result, only the white American sailors are allowed ashore, the Negroes must remain on their ships. President Eisenhower ‘suggests’ to John Curtin that all of his troupes should be allowed ashore and eventually the black servicemen see dry land.
A white sailor, Walt (Damon Lockwood), who is a girl magnet – in his own mind - tells his shipmates of the newfangled ‘Dr Carver’s Jazz Club’ run by MC (Matt Dyktynski), with its mysterious music and volunteer glamour. It is in Boundary Street, across the Victoria Bridge on the south side of the river. ‘Volunteer’ because the Australian Government in an attempt to strengthen its ties with the US has consequently recruited young girls to keep the troupes company. Many of the club’s hostesses are married women like Celia (Adriane Daff) and Maddie (Rebecca Davis) who have their husbands fighting overseas.
We follow the chronicles of three African-American soldiers, who at the suggestion of Lester (Kenneth Ransom) have a private bet running between them. Will the smooth, fun-loving Joe (Terry Yeboah) win? or will it be the slow approach of Solly (Christopher Kirby) that gets the woman?
The Club’s old fashioned music is played by a small band (Roger Garrood, Harry Morrison, John Morrison and Raymond Walker), beautifully accompanied by the crooning style of Louise (Emma Pask). Solly gives the trumpeter (James Morrison) a record to listen to, and asks him to play Harlem music like this. The trumpeter does and the Club buzzes. The feverish jiving (wonderful choreography by Mary Beth Cavanaugh and Shane McCarthy) along with the original music from James Morrison sets the floor alight.
As the nights go by, Joe’s aboriginal friend Rosie (Gina Williams) says that she would like to sing on stage, and Joe cannot understand why she simply doesn’t get on the stage and perform. Have the American blacks got the same rights as the Aussie Aboriginals? Irrespective of the race or colour, a real bond develops between the young servicemen and the women. Polly (Clare Moss) finds a true friendship with a sailor, but how will her Dad (Luke Hewitt) accept his skin colour?
The significance of the bridge and the appropriately named Boundary Street become obvious.
In the second Act the pace slows as these friendships slowly start to create jealousy and violence.
It isn’t long before questions like ‘why are our troops overseas, when the Americans are here in our country in relative safety? Are all men born alike irrespective of their country of origin?
The set designer (Michael Scott-Mitchell) and his assistant (David Fleischer) have made full use of the magnificent facilities of this new theatre. The Victoria Bridge was amazing, solid and steady (was this a modified lighting gantry?). Combined with David Murray’s lighting, the overall visual appearance was breathtaking.
Gone are the old sound problems of the Playhouse, the speech was crisp and the acoustics faultless, good work by sound engineer, Peter Dawson, who did justice to the clear voices of the two perfect singers. A true delight.
The whole 40s era was perfectly represented by the outfits and uniforms of the day, created by costume designer Teresa Negroponte.
Director, Kate Cherry with dramaturg assistance from Hilary Bell kept the humour flowing, the whole action-filled vision was magnificent as the storyline built up, and then, with clever change of pace, the true dilemma started to unwind bring with it the trauma. Tremendous direction, clearly depicting several moods from elation to horrendous tragedy.
The supreme union of these theatrical skills has given this brand new theatre an outstanding opening production. Not surprisingly the Season is sold out.
As this was the official Opening Night of this magnificent WA State Theatre, I thought that some of our friends over East may like to know some of this magnificent theatre’s details, in particular the main auditorium - the Heath Ledger Theatre.
Contained within the high wooden walls and curved wooden ceiling are 575 seats, comprising a circle of 170 seats and 405 in the stalls. The circle is a true circle, well elevated above the stalls. All rows are curved to face the stage with an excellent rake and spacious foot room between rows.
The traditional proscenium arch is 12 metres wide by 9 metres high.
The sprung timber stage is 25 metres wide, wall to wall, and 18 metres deep; it has a sacrificial surface.
The powered flying system has 58 lines, with six forestage and 10 backstage hoists.
At the rear of the stalls is a control room. There are 408 dimmers, with 2.5kW and 5kW outlets. The lighting rig has 24 wired bars working to cable reelers, and state-of-the-art conventional and moving light fixtures.
Backstage are four dressing rooms at stage level; one room for ten actors, two for five and one for two people. All equipped with showers, toilets and safes.
For the stage managers there is audio and video relay, paging, working light control and intercoms, services connection to the smaller Underground theatre and Rehearsal Rooms.
Communications services and cable tray facilities are available for outside broadcasts.
‘Boundary Street’ by WA playwright Reg Cribb, has been selected as the opening production for the new Heath Ledger Theatre in the State Theatre Centre of WA, 182 William Street, Perth.
This World Premiere was the Winner of the 2009 Rodney Seaborn Playwrights’ Award. It is being presented by the Black Swan State Theatre Company in conjunction with the Perth International Arts Festival and the Brisbane Festival. The two and a half hour play is showing until the 20th March, with performances starting at 7.30 pm.
It is 1942 and Singapore has fallen to the Japanese forces. The north coast of Australia is under aerial attack, and so when the US military arrive in Brisbane, the Queensland Aussies feel just that little bit more secure.
The White Australia policy is strong and as a result, only the white American sailors are allowed ashore, the Negroes must remain on their ships. President Eisenhower ‘suggests’ to John Curtin that all of his troupes should be allowed ashore and eventually the black servicemen see dry land.
A white sailor, Walt (Damon Lockwood), who is a girl magnet – in his own mind - tells his shipmates of the newfangled ‘Dr Carver’s Jazz Club’ run by MC (Matt Dyktynski), with its mysterious music and volunteer glamour. It is in Boundary Street, across the Victoria Bridge on the south side of the river. ‘Volunteer’ because the Australian Government in an attempt to strengthen its ties with the US has consequently recruited young girls to keep the troupes company. Many of the club’s hostesses are married women like Celia (Adriane Daff) and Maddie (Rebecca Davis) who have their husbands fighting overseas.
We follow the chronicles of three African-American soldiers, who at the suggestion of Lester (Kenneth Ransom) have a private bet running between them. Will the smooth, fun-loving Joe (Terry Yeboah) win? or will it be the slow approach of Solly (Christopher Kirby) that gets the woman?
The Club’s old fashioned music is played by a small band (Roger Garrood, Harry Morrison, John Morrison and Raymond Walker), beautifully accompanied by the crooning style of Louise (Emma Pask). Solly gives the trumpeter (James Morrison) a record to listen to, and asks him to play Harlem music like this. The trumpeter does and the Club buzzes. The feverish jiving (wonderful choreography by Mary Beth Cavanaugh and Shane McCarthy) along with the original music from James Morrison sets the floor alight.
As the nights go by, Joe’s aboriginal friend Rosie (Gina Williams) says that she would like to sing on stage, and Joe cannot understand why she simply doesn’t get on the stage and perform. Have the American blacks got the same rights as the Aussie Aboriginals? Irrespective of the race or colour, a real bond develops between the young servicemen and the women. Polly (Clare Moss) finds a true friendship with a sailor, but how will her Dad (Luke Hewitt) accept his skin colour?
The significance of the bridge and the appropriately named Boundary Street become obvious.
In the second Act the pace slows as these friendships slowly start to create jealousy and violence.
It isn’t long before questions like ‘why are our troops overseas, when the Americans are here in our country in relative safety? Are all men born alike irrespective of their country of origin?
The set designer (Michael Scott-Mitchell) and his assistant (David Fleischer) have made full use of the magnificent facilities of this new theatre. The Victoria Bridge was amazing, solid and steady (was this a modified lighting gantry?). Combined with David Murray’s lighting, the overall visual appearance was breathtaking.
Gone are the old sound problems of the Playhouse, the speech was crisp and the acoustics faultless, good work by sound engineer, Peter Dawson, who did justice to the clear voices of the two perfect singers. A true delight.
The whole 40s era was perfectly represented by the outfits and uniforms of the day, created by costume designer Teresa Negroponte.
Director, Kate Cherry with dramaturg assistance from Hilary Bell kept the humour flowing, the whole action-filled vision was magnificent as the storyline built up, and then, with clever change of pace, the true dilemma started to unwind bring with it the trauma. Tremendous direction, clearly depicting several moods from elation to horrendous tragedy.
The supreme union of these theatrical skills has given this brand new theatre an outstanding opening production. Not surprisingly the Season is sold out.
As this was the official Opening Night of this magnificent WA State Theatre, I thought that some of our friends over East may like to know some of this magnificent theatre’s details, in particular the main auditorium - the Heath Ledger Theatre.
Contained within the high wooden walls and curved wooden ceiling are 575 seats, comprising a circle of 170 seats and 405 in the stalls. The circle is a true circle, well elevated above the stalls. All rows are curved to face the stage with an excellent rake and spacious foot room between rows.
The traditional proscenium arch is 12 metres wide by 9 metres high.
The sprung timber stage is 25 metres wide, wall to wall, and 18 metres deep; it has a sacrificial surface.
The powered flying system has 58 lines, with six forestage and 10 backstage hoists.
At the rear of the stalls is a control room. There are 408 dimmers, with 2.5kW and 5kW outlets. The lighting rig has 24 wired bars working to cable reelers, and state-of-the-art conventional and moving light fixtures.
Backstage are four dressing rooms at stage level; one room for ten actors, two for five and one for two people. All equipped with showers, toilets and safes.
For the stage managers there is audio and video relay, paging, working light control and intercoms, services connection to the smaller Underground theatre and Rehearsal Rooms.
Communications services and cable tray facilities are available for outside broadcasts.
Gordon wrote: President
yes and no
Thanks for your correction, I was wrong, the President was indeed Roosevelt. In this play, however, it was Roosevelt who made the initial approach to John Curtin, with a beautiful quip at the end of his speech.
In my review I made no suggestion that the President was in charge of the Pacific arena, as it was very clear in the play that MacArthur (played wonderfully by Luke) was unflinchingly in charge.
Thanks again for your interest.
Gordon
An excellent opening