Hello - I am a successful acting teacher-coach-director with over twenty years experience, mainly at the National Institute of Dramatic Art (NIDA) in Sydney, Australia. Many students have gone on to establish illustrious careers both nationally and internationally - including Cate Blanchett, Sam Worthington, Anna Torv, Mathew Passmore, David Lyons, Miranda Otto, Genevieve O'Rielly, and Alex O'Loughlan. I am available for private coaching and directing. Please feel free to drop me a line.
Thoroughly recommend the STC's UNCLE VANYA. Excellent production with a stella ensemble cast lead by Cate Blanchett, Hugo Weaving, and Richard Roxburgh; and a marvelous adaptation by Andrew Upton. The only quibble - the strine Oz accents. I feel that this fad in Australian drama is a bit of an artistic lie. Sonia, for example, is the daughter of a illustrious university professor, and whilst she may not have been always with him I find it unbelievable (in this production) that she would have been allowed to speak in the manner she does. The justification for the use of the Oz strine is one of class distinction. This is rubbish. In a recent article in the SMH about the Australian accent the issue of strine and class is debunked - it has nothing to do with class. I am reminded of what my old acting teacher, Christopher Fettes, said about the use of cockney accents being employed for class distinction and comedy. Christopher believed, s do I, that this is a cheat; actors being lazy and allowing for gross generalisation. This issue, however, is my only criticism for what is a delightful evening in the theatre - well worth the price of admission.
Theatre highlights in Sydney for 2010. WAITING FOR GODOT with Ian McKellan and Roger Rees; directed by Sean Mathias was simply marvelous and insightful in regard to this play. OK - it's still GODOT - and I will openly admit that it still baffles me, nevertheless, the sheer joy in watching Ian McKellan and Roger Rees work together was inspirational. They have worked together many times and have such a delightful ease with one another - brilliant acting and a lesson for all; nothing was forced. AUGUST: OSAGE COUNTY as performed by Steppenwolf with most of the original cast was one of the best pieces of theatre I have seen in ages. Great ensemble acting; and such a richly dense and moving play. I went with STC subscribers who asked me 'why isn't it always like this?' - good question as sadly the level of acting and production for most STC shows in not particularly of a high standard (notable exception - UNCLE VANYA). Why is this so? There are a couple of reasons for this. It is strangely bizarre that 'naturalism' is actually not the main staple in our theatre. We very rarely see it - it is not the norm. Instead we have endless 'de-construction' in the name of 'innovation' with actors performances based on external intellectual concepts rather than three dimensional human beings. These days I fear that 'innovation' too often is simply a justification for distortion. Secondly, there is a decadent fad whereby talented actors, writers, and designers believe they are equally talented in directing. They are not! As one eminent Australian director said to me, 'I feel like going to see Cate and Andrew and saying "I feel like playing Cleopatra this year". This practice may stem from the fad of multi-tasking so prevalent in our education system; encouraging an egotistical sense of entitlement. It is an artistic lie and should not be encouraged. It demeans our art; and exposes these very talent artists to justifiable ridicule and contempt for their blatant egotism. Sadly, our theatre will remain at a second-rate standard whilst it this practice is supported by subscribers, critics, and sponsors such as Armani and Audi. Worst show of the year - LONG DAY'S JOURNEY INTO NIGHT. Eugene O'Neill is one of may favourite playwrights - a major poet of the theatre - and this is one of his master-works. I was so looking forward to it - but was bitterly disappointed. It was five actors who were all in different plays. The lack of coherency was incredible - baffling; especially considering the talent up on stage. Robyn Nevin was giving a terrific performance - but she was alone up there. William Hurt is a great actor - so may fantastic performances; but he was inaudible. Was it stage-fright? Perhaps - he certainly did not look comfortable; my heart went out to him. I very rarely leave a show; but as I paid for this ticket I simply couldn't sit through this travesty of O'Neill's brilliant play. Unlike AUGUST this was not a moving experience (except for my physical exit). Let's hope that 2011 is a better year - the current terrific production of UNCLE VANYA by the STC gives one hope.
Have just come from FLICKERFEST where 9 Short Oz films were screened. All of them were of a terrific standard - thoroughly enjoyable and inspiring. The standard of acting was good in all of them. If there was a theme it was one of general displacement and love lost. Chris Stollery's 'Dik' and Lucien Simon's 'Stripped Bare' dealt with homophobia to an hysterical level -literally; Stollery's with great wit and humour; Simon's quite terrifying. Two other films were of note - Shideh Faramand's 'A Reluctant Bride' and Viron Papadopoulus' 'Bad Language' - due to them dealing with an Australian sensibility within Australian-ethnic worlds - Persian and Greek respectively. There were also 2 terrific animated films. Luke Eve's 'Cockroach' was particularly good - and unusual for an Australian film in that it was a heroic romance; albeit an odd one - but highly imaginative and delightful. Highly recommended.
Hello - I am a successful acting teacher-coach-director with over twenty years experience, mainly at the National Institute of Dramatic Art (NIDA) in Sydney, Australia. Many students have gone on to establish illustrious careers both nationally and internationally - including Cate Blanchett, Sam Worthington, Anna Torv, Mathew Passmore, David Lyons, Miranda Otto, Genevieve O'Rielly, and Alex O'Loughlan. I am available for private coaching and directing. Please feel free to drop me a line.
ReplyDeleteBrave way to start the new year, Mr. Knight. I look forward to reading your blogs.
ReplyDeleteThoroughly recommend the STC's UNCLE VANYA. Excellent production with a stella ensemble cast lead by Cate Blanchett, Hugo Weaving, and Richard Roxburgh; and a marvelous adaptation by Andrew Upton. The only quibble - the strine Oz accents. I feel that this fad in Australian drama is a bit of an artistic lie. Sonia, for example, is the daughter of a illustrious university professor, and whilst she may not have been always with him I find it unbelievable (in this production) that she would have been allowed to speak in the manner she does. The justification for the use of the Oz strine is one of class distinction. This is rubbish. In a recent article in the SMH about the Australian accent the issue of strine and class is debunked - it has nothing to do with class. I am reminded of what my old acting teacher, Christopher Fettes, said about the use of cockney accents being employed for class distinction and comedy. Christopher believed, s do I, that this is a cheat; actors being lazy and allowing for gross generalisation. This issue, however, is my only criticism for what is a delightful evening in the theatre - well worth the price of admission.
ReplyDeleteTheatre highlights in Sydney for 2010. WAITING FOR GODOT with Ian McKellan and Roger Rees; directed by Sean Mathias was simply marvelous and insightful in regard to this play. OK - it's still GODOT - and I will openly admit that it still baffles me, nevertheless, the sheer joy in watching Ian McKellan and Roger Rees work together was inspirational. They have worked together many times and have such a delightful ease with one another - brilliant acting and a lesson for all; nothing was forced. AUGUST: OSAGE COUNTY as performed by Steppenwolf with most of the original cast was one of the best pieces of theatre I have seen in ages. Great ensemble acting; and such a richly dense and moving play. I went with STC subscribers who asked me 'why isn't it always like this?' - good question as sadly the level of acting and production for most STC shows in not particularly of a high standard (notable exception - UNCLE VANYA). Why is this so? There are a couple of reasons for this. It is strangely bizarre that 'naturalism' is actually not the main staple in our theatre. We very rarely see it - it is not the norm. Instead we have endless 'de-construction' in the name of 'innovation' with actors performances based on external intellectual concepts rather than three dimensional human beings. These days I fear that 'innovation' too often is simply a justification for distortion. Secondly, there is a decadent fad whereby talented actors, writers, and designers believe they are equally talented in directing. They are not! As one eminent Australian director said to me, 'I feel like going to see Cate and Andrew and saying "I feel like playing Cleopatra this year". This practice may stem from the fad of multi-tasking so prevalent in our education system; encouraging an egotistical sense of entitlement. It is an artistic lie and should not be encouraged. It demeans our art; and exposes these very talent artists to justifiable ridicule and contempt for their blatant egotism. Sadly, our theatre will remain at a second-rate standard whilst it this practice is supported by subscribers, critics, and sponsors such as Armani and Audi.
ReplyDeleteWorst show of the year - LONG DAY'S JOURNEY INTO NIGHT. Eugene O'Neill is one of may favourite playwrights - a major poet of the theatre - and this is one of his master-works. I was so looking forward to it - but was bitterly disappointed. It was five actors who were all in different plays. The lack of coherency was incredible - baffling; especially considering the talent up on stage. Robyn Nevin was giving a terrific performance - but she was alone up there. William Hurt is a great actor - so may fantastic performances; but he was inaudible. Was it stage-fright? Perhaps - he certainly did not look comfortable; my heart went out to him. I very rarely leave a show; but as I paid for this ticket I simply couldn't sit through this travesty of O'Neill's brilliant play. Unlike AUGUST this was not a moving experience (except for my physical exit).
Let's hope that 2011 is a better year - the current terrific production of UNCLE VANYA by the STC gives one hope.
Have just come from FLICKERFEST where 9 Short Oz films were screened. All of them were of a terrific standard - thoroughly enjoyable and inspiring. The standard of acting was good in all of them. If there was a theme it was one of general displacement and love lost. Chris Stollery's 'Dik' and Lucien Simon's 'Stripped Bare' dealt with homophobia to an hysterical level -literally; Stollery's with great wit and humour; Simon's quite terrifying. Two other films were of note - Shideh Faramand's 'A Reluctant Bride' and Viron Papadopoulus' 'Bad Language' - due to them dealing with an Australian sensibility within Australian-ethnic worlds - Persian and Greek respectively. There were also 2 terrific animated films. Luke Eve's 'Cockroach' was particularly good - and unusual for an Australian film in that it was a heroic romance; albeit an odd one - but highly imaginative and delightful. Highly recommended.
ReplyDelete