Presented by the Graduate Dramatic Society of WA

Hellenic Club of WA

Review by Julianne de Souza

Relevant and engaging, A Flat Circle sees the two-year reunion of a dysfunctional family, only to be followed by its disastrous unravelling – all over the span of one forty-five minute dinner party. If you think that this may sound like a lot to achieve, then you would be correct. While it is well written and showcases some impressive performances, A Flat Circle was at times overdramatic and heavy-handed.

A production by the Graduate Dramatic Society of WA, A Flat Circle stages a troubled family’s reunion to reveal its dark secrets. After two years of backpacking in Africa following his father’s death, Charlie waltzes back into his estranged family’s life only to swiftly dig up old grievances, wasting no time in steering the stilted dinnertime conversation towards his parents’ difficult marriage. This begins an exploration of the various characters’ attitudes towards domestic violence as we learn of their father’s abusive treatment of his wife, Victoria.

Youngest son and failed playwright George attempts to defend his father’s violent behaviour. His excuses come across almost as platitudes given the frequency with which domestic violence victims are blamed in today’s society. Yet in this performance, remarks such as “He only did it once” and “He was a good man” are not merely misogynistic drivel; they also portray the disbelief of a son who cannot come to terms with his father’s true character.

Mel Kay’s performance as the ambitious and taunting younger sister Di, who up until this point was in the dark about her father’s abusive tendencies, was the standout. She was closely followed by Jennifer van den Hoek as the mother trying to keep her family together while struggling to admit the truth about her husband.

Despite these several strong performances, A Flat Circe’s tense climax and final ‘twist’ came across as both out-of-the-blue and unconvincing. As various family members turn on one another, it felt more like the play was aiming to shock its audience than give the play the mature resolution it deserved. Unexpectedly, the show ends on a haunting, a cappella number sung by Di to her mother, which while technically impressive, was too long.

These plot and staging caveats aside, A Flat Circle is a thought-provoking dramatization of family relationships and domestic violence, carried through by the actors by witty dialogue and complex characterisation. If it generates more conversation about topics marked ‘taboo’, it can only be marked a success.

A Flat Circle ran until late February at the Hellenic Club of WA. 

The Hidden Bar

Review by Julianne de Souza 

On Friday night I played pass the parcel, sang along to Hanson’s lesser-known hits, and then joined hands with a circle of strangers while we swayed to ‘MMMBop’ in a bar in the middle of Northbridge. I have Super Awesome Best Friends Forever to thank for this.

Super Awesome Best Friends Forever saw Northbridge’s The Hidden Bar transform into a pre-teen’s bedroom; Hanson posters plastered the walls and Maddy, our overzealous protagonist portrayed by Madeleine Lewis, reclined on a couch, belting out one ’90s hit after the other as the audience filtered in. Rows of chairs positioned in front of the set were bypassed for more intimate spots in the midst of this boy band shrine.

Despite being marketed as an exploration of how the immediacy and pervasiveness of social media impacts our ‘real world’ relationships, Super Awesome Best Friends Forever was more of a reminiscence of the various friendships that Maddy has experienced, from her first love (Taylor Hanson, of course), to the abrupt end of her bond with her best friend after being revolted by the way she used her fingernails as an ice cream scoop.

Despite being somewhat funny and entertaining, Lewis’s routine gradually became repetitive and rather predictable. Furthermore, Maddy’s characterisation as a bubbly, overenthusiastic girl with extensive knowledge of Hanson’s discography occasionally jarred with her monologue, which was dotted with swear words and talk of getting drunk on gin and tonics. Another unfortunate detractor was the continuous noise from The Hidden Bar’s outdoor area, which impeded upon the performance and prevented it from ever feeling truly private and intimate.

The highlights were moments where Lewis touched on the way that best friends can swiftly become strangers. Her reflection upon how it’s often significantly easier to connect with fictional characters than with real humans undoubtedly struck a chord with the audience. Furthermore, the audience remained engaged and at ease thanks to timeless sleepover games such as truth or dare and pass the parcel, since, as she noted, it would be pretty weird if we all came into her bedroom just to watch her perform a monologue.

Super Awesome Best Friends Forever was a fun way to spend 45 minutes, however the one woman show’s poignant themes and energetic protagonist were let down by repetitive jokes and a fairly shallow exploration of what it means to be a teenager.

Burt Memorial Hall

22nd January 2015

Reviewed by Julianne de Souza

The glass-stained windows and romantic, candle-lit shadows of Burt Memorial Hall forged the perfect canvas for this year’s Hush: An Evening of Quiet Music. Creating a highly intimate and respectful space in which local musicians can perform acoustic sets, Hush was conceived as the antithesis to the noisy, rowdy pubs in which up-and-coming artists usually begin and are often ignored.

Founded by musicians Davey Craddock and Stacy Gougoulis in 2012, Hush returns to Fringe World for a ‘Duets’ edition, featuring unlikely collaborations between some of Perth’s finest acts.

First was Golden String, consisting of vocalist and keyboardist Mai Barnes and violinist Hayley Jane-Ayres. Throughout the set, Barnes’ masterful wrangling of the loop station created a sound impressively larger than the two musicians onstage. Countless layers of lush harmonies spun a rich, hypnotic sound complemented by minimalistic lyrics. However, at times Golden String’s signature melancholia ran the risk of becoming repetitive, making it difficult for listeners to differentiate between songs.

Luke Dux and Leon Pratt’s blues brought a change in pace from Golden String. The two musicians stood at opposite ends of the stage, staring each other down; Dux growled into the microphone and strummed an electric guitar while Pratt plucked his double bass. The duo’s undeniable stage chemistry brought the best out of Pratt’s guttural vocals and Dux’s finesse on the bass, delivering one punchy song after the other.

Next were Jacob Diamond and Benjamin Witt, who impressed with their modern and alternative style. Discordant and somewhat noisy in the best possible way, Diamond and Witt keep listeners on edge and admittedly may not be for everyone. The highlight of the set was the final song, ‘Goodbye’, penned by Diamond, which saw the electric guitarist’s vocals soar.

Hush ended on a high with Stella Donnelly delivering a standout performance in her duet with David Craft. Donnelly’s heavenly, breezy melodies and Craft’s deep country twang were an odd pairing, with Donnelly’s undeniable indie charm stealing the show. The set list alternated between songs penned by each artist, the highlight being Donnelly’s ‘Mean To Me’, a charming yet melancholic tune about being unappreciated.

Hush succeeded in creating the ideal venue for intimate acoustic sets, with the grandeur of Burt Memorial Hall setting the ideal backdrop for the four duos who hypnotised their listeners with everything from dreamy, romantic pop to rasping blues.

Hush: An Evening of Quiet Music ran for one performance only on January 23 at Fringe World Festival Perth.