Theatre Review: Educating Rita

By Fran Edwards on January 12, 2017 Arts, Entertainment, Performing Arts Reviews, What's On

Presented by IpSkip Productions
Reviewed 10 Jan 2017

This week we welcomed another new theatre company to the Adelaide amateur scene with their first outing at the Bakehouse in the cosy Studio. Willy Russell was a good writer to start off with as his well-written scripts rarely fail and Educating Rita is amongst the best of his offerings. Novice director Nathan Quadrio has done well to cast experienced players who developed their characters nicely and gave us a well-rounded performance.

The set resembled the requisite book lined study, giving the feel of a university lecturers room, small but adequate for teaching. The Studio Theatre is an ideal venue for this, small and intimate, though on opening night it was a bit too close for the audience through lack of air-conditioning. Technically the set worked well although director Quadrio and lighting designer Alex Hatcher should have decided to wire the desk lamp into the lighting grid, or not use it. The delayed switch off of the lamp at the end of scenes was distracting. Hannah Tulip backstage as stage manager, was obviously on the ball; all went smoothly in a confined space.

Apart from a minor hiccup with lines in Act 2, the production ran well and director/producer Quadrio should be pleased with his first effort. Russell’s play is primarily about class differences, which were coming under scrutiny in England in 1982 (the year he wrote the play). Of course there are many other layers to the way in which Rita sees herself as inferior, but accent has to be one of the defining measures and for me, although good, Lauren Renee’s accent was not thick enough – there was not enough contrast.

Having said that I would like to reiterate that both players (Renee and James McCluskey-Garcia) did extremely well, delivering Russell’s dialogue and gaining all the laughs in all the right places. If this is a sample of what IpSkip Productions can do, watch out for their next performance – you have missed this one, its sold out!

Reviewed by Fran Edwards
Twitter: @franeds

Venue: Bakehouse Studio Theatre
Season:10 – 14 Jan 2017
Duration: 2hr
Tickets: $18
Bookings: www.bakehousetheatre.com

Disclaimer: Nathan Quadrio is an Arts Reviewer for Glam Adelaide

EDUCATING RITA
IpSkip Productions
Bakehouse Theatre
Until 14 Jan 2017

Review by Anthony Vawser

The Pygmalion myth is about as durable a basis for stimulating works of theatre as such deathless themes like innocence-to-experience, nature-vs-nurture, art-vs-commerce, pragmatism-vs-idealism, ambition-vs-acceptance. In its own way, this show manages to encompass a-little-to-a-lot of all these ideas, and more besides: the British class system, the consequences of traditional gender roles, the benefits - and limits - of education, the impact of living at the mercy of a stable economy.

In the end, this show works because it’s fun without being too fluffy, intelligent without being esoteric – and how could a critic possibly resist a play that pokes such delightful, good-natured fun at the stuffy conventions of academic criticism itself? Of course, in the world of theatre, good texts need to be brought to life and guided to completion by people who know what they're doing; happily, IpSkip Productions have given us a winner for their very first show.

"Educating Rita" was a case of a hit UK theatrical property turning into a worldwide popular success when filmed in 1983, but the necessary adaptations that took place between two essentially different mediums mean that Willy Russell's writing really does have a different impact when seen/heard on the stage - and, in this reviewer's opinion, it's a stronger, more satisfying impact (for one thing, there's no need to have to put up with a dreadful, dated synthesiser score!)

Director/producer Nathan Quadrio has already repeatedly proven his abilities across multiple artistic disciplines: dramatic acting, musical comedy, and as a forthright, insightful critic of others' work. Quadrio's general adeptness with the challenges of a two-character, one-set piece are most impressive, especially for a debut. Keeping the number of variable elements to a minimum is a wise way of easing into the responsibilities of a stage director, but it's a tactic that requires a cast of monumental ability to carry the weight of an entire show on two sets of shoulders.

It is fortunate that Quadrio has engaged the tremendous talents of Lauren Renèe and James McCluskey-Garcia; both actors are magnetic and delightful. The dynamism of these two portrayals – aspiring student and jaded teacher – is supremely satisfying, but occasionally has its drawbacks; there are moments when the tiny stage seems barely capable of containing the larger-than-life physical comedy or the drama of a thrown object that seemed to have real potential of landing in the front row’s lap!

The only real criticism to be made here is that the piece builds to a peak by the end of Act One, with the character/plot development of the second half never quite as stimulating as the first. This issue was exacerbated on opening night when circumstances threatened to derail the progress of the play; it is a credit to the performers that they collectively managed to get the proceedings back on track and moving right along.

"Educating Rita" is a work that has enough on its mind for an audience to feel that the playwright is both anticipating and valuing their intelligence - but most importantly, it presents us with two interesting characters to guide us through its ideas, providing plenty of opportunity along the way to laugh out loud. That this production is ideally cast, engagingly performed, and smartly directed means that all those who couldn't obtain a ticket for this sold-out season will want to keep a close watch on the future exploits of IpSkip.

Glam Adelaide interview for Educating Rita

Interview: James McCluskey-Garcia – on playing Frank in Adelaide’s newest theatre company’s production of “Educating Rita”

By Brian Godfrey on January 3, 2017 Arts, Entertainment, Performing Arts News, What's On

There’s a new theatre company in town, IpSkip Productions, founded by up and coming Adelaide performer and a member of Glam Adelaide’s reviewing team, Nathan Quadrio. The company’s debut production is to be Willy Russell’s Educating Rita, with Quadrio making his directorial debut and starring James McCluskey-Garcia and Lauren Renee.

I managed to catch up with James and asked hin to share his thoughts on various aspects of the show and this particular production.

BG: Hi James. Tell us a little about yourself: in particular, your performing background.

JM-G: I’ve been treading the boards since i was a kid. First for Northern Light Theatre Company in the eighties, then I had the idea that I wanted to be a ‘real’ actor so I spent 3 years ‘training’ at the College of Performing Arts (now AC Arts) when I was 19, under David Kendall and Peter Dunn and Isobel Kirk. Then I moved to Brisbane, then Sydney and was fortunate enough to get a bit of part time paid acting work at places like La Boite, Belvoir St, and at the Sydney Opera House for Opera Australia. And a bit of film and TV. I moved back home about 4 years ago, married, and have been flat out ever since! Mainly with Matt Byrne Media plays and musicals. So, thanks, Matt!

BG: Who do you play in Educating Rita and what are your thoughts on the character?

JM-G: I play Frank, the alcoholic, cynical English Professor. He is an intriguing character. Intriguing because his passion, his fire, has been for words, ideas, poetry and literature. But for someone who has all this knowledge he distinctly lacks self-awareness. Or chooses not to ‘change’ and better himself and his situation, as Rita does. He is disillusioned with the world, his ambition and himself. He tells Rita to ‘only connect’ with others but he doesn’t really do this himself. I think, perhaps, he lacks courage. He uses words as his shield, his armour. And also as a weapon. When Rita breezes into his room at the beginning of the play and constantly speaks her mind, he is confronted with someone who is refreshing, vital and energetic about learning and I don’t think he has encountered anyone like her before. And i believe, it eventually jolts him out of his world-weary apathy and atrophy, if only for a short time. There are many points in the play where Frank displays a rather cruel streak towards his social intercourse with Rita which is quite surprising. It’s amazing that Rita puts up with it, to be frank.

BG: What are your thoughts about the play itself?

JM-G: Willy Russell’s play, Educating Rita examines themes of education, class, addiction, literature, tragedy, mentoring, personal growth and connecting with others. It is a play very rich in language and ideas and hopefully there will be something in it for everyone in the audience. I feel like it is Willy Russell’s autobiography in a way. They say to write about what you know and Russell does just this. He has been a ladies hairdresser as well as an English teacher at college and I’m sure there are elements of him in both Rita and Frank. I love that the play examines the question of ‘what is culture’? Frank attempts to impart his version of culture to Rita and Rita talks about the ‘working class culture’ that surrounds her. But is one more valid than the other? The play probably poses more questions than it does answers and hopefully the audience will walk away with these questions…and maybe a few answers. I believe the play is essentially about ‘connecting’ with others.

BG: What are your thoughts on Nathan as a first-time director

JM-G: I have worked with Nathan Quadrio a number of times now on stage. I first saw him as Richie Cunningham in NLTC production of Happy Days then worked with in MBM’s Mary Poppins, as did Lauren. He always struck me as intelligent, passionate about theatre, driven and dedicated. It took me a while to say ‘yes’ to him (about playing Frank) as I have so many other commitments but how often does an actor get the chance to play such a great character? And I have always been a fan of the film and Michael Caine in particular. Nathan has been very collaborative throughout the whole process and taken on board my ideas for the character and has ‘educated’ me in a few ways such as teaching me about the ‘Romantic’ poets and other pieces of literature. He’s also been laughing in all the right places in rehearsal, so hopefully the audience will also. He’s a smart kid!

BG: Why should people see this production?

JM-G: People should see this show first and foremost because the language is so rich and the characters are wonderfully flawed. Frank more so than Rita. Secondly, this is the debut show for IpSkip Productions and I believe in supporting local talent and theatre. Thirdly, if there are any fans of the Michael Caine/Julie Walters film, then they can experience these characters in close quarters in the Studio of the Bakehouse Theatre. And because after the show i will cease and desist all my Facebook posts about it!

Educating Rita opens at The Bakehouse Theatre, Angas Street from Tues 10 Jan 2017 til Sat 14 Jan 2017 at 8pm with a matinee on the 14th at 2pm. All tickets are $18. Bookings through TryBooking

Interview by Brian Godfrey

Theatre Review: Company

By Tracey Korsten on November 9, 2015 Performing Arts Reviews, What's On

Presented by Hills Musical Company
Reviewed 6 November 2015

Company contains some of Stephen Sondheim’s most popular tunes. It was a ground-breaking musical, when it was first produced in the early 70s, and, although slightly dated, remains fresh, and an immensely enjoyable reminder of the man’s genius. It is also a relatively easy production to stage, and is therefore a good choice for an amateur company.

Rather than a storyline, this musical is a series of vignettes about marriage, and about the lives of middle-class people in New York. Songs include Marry Me a Little, Sorry-Grateful and the always moving Being Alive.

Fiona DeLaine as director and Mark DeLaine as musical director have done an excellent of job of “putting it together” (little Sondheim joke there…). Special kudos must go to Jamie Richards for a brilliant piece of set design, making the most of a fairly small stage.

The ensemble singing in this production is first class, and is the high-light of the show. All performers were competent singers and actors, but there were particularly strong performances from James McCluskey-Garcia as Larry and Kerry Staight as April. Josh Barkley as pivotal character Robert, was charming, and certainly looked the part. His singing was sweet, but lacked some power, and he needs to relax and lean into Sondheim’s phrasing. Jess Rossiter is very watchable as the kooky Amy, and she handles the very difficult number, I’m Not Getting Married well. She could just give it a bit more oomph and vocal variety. Kate Anolak and Jamie Richards play the pugilistic Sarah and Harry with verve, and all other performances are solid and tight. The orchestra, under Delaine’s baton, sounds much bigger than it is.

This is, for a non-professional company, an outstanding production.

Reviewed by Tracey Korsten
Twitter: @TraceyKorsten

Venue: Stirling Community Theatre Avenue Road, Stirling
Season: 6 – 21 November 2015
Duration: 2 hours including interval
Tickets: $25 – $32

Bookings: http://www.hillsmusical.org.au/tickets/

12 ANGRY MEN
Matt Byrne Media
Holden Street Theatres
Until 29 Oct 2016

Review by Jamie Wright

Reginald Rose's 1954 written-for-television play (later a 1957 film starring Henry Fonda) is an American classic; the story of a jury deliberating on the verdict of the trial of a 16-year-old Puerto Rican boy charged with the murder of his father and faces the death penalty if found guilty, it prompts hard questions about a range of issues and ideas – and in many ways is as relevant today (gender representation aside) as it was when it was first produced.

It begins as the jury enters the room on a hot afternoon in New York City, with a storm brewing outside; after the first vote is eleven guilty to one not guilty, the solitary dissenter sets out to make his fellow jurors at least consider the possibility that there is reasonable doubt of the accused’s guilt – and, in doing so, confront their biases and examine their own lives.

Director/designer Matt Byrne has rearranged the seats in the Holden Street studio so that that action – set almost entirely around the long juror's table – is in the middle, with the audience in rows of tiered seats on both sides. This is a clever move as it brings the audience closer to the action, and makes the space feel far smaller, increasing the tension. While it does mean that, for some of the play the audience is looking at the backs of heads, he has the cast move around throughout to break this up. The frequent physical confrontations feel completely natural.

The pace is spot-on; intense but never rushed. Performances are excellent throughout with Gus Smith, David Havilland, Nathan Quadrio, Russell Ford, John R. Sabine, Neville Phillis and Sam Davey doing good work in what would be considered the supporting roles; however, despite spending less time in the (figurative) spotlight, there’s never a moment where they aren’t focused or reacting to the ‘bigger’ personalities around them. There are few plays more dependent on solid ensemble work than this one.

The heavier lifting falls on the shoulders of Byrne, who has cast himself as the obnoxious, hard-headed Juror No. 3; David Grybowski is level-headed, contemplative and fundamentally decent as Juror No. 8; James McCluskey-Garcia as Juror No. 2, initially quiet but eventually determined; and James Black, who injects moments of levity as the loudmouthed Juror No. 7. But it's James Whitrow as the aggressive, bigoted Juror No. 10 who has the most impact; you can almost see steam pouring from his ears as he simmers, and his outbursts are mesmerizing.

The product of this vision and the concerted team effort is an excellent production of a great play: engaging, thought-provoking theatre.

Radio Adelaide interview 9th January 2017

https://radio.adelaide.edu.au/wp-content/uploads/2017/01/Educating-Rita.mp3