Review by Felix Ching Ching Ho
Although I'm not the biggest fan of greek mythology, I was considerably impressed by the performance. Always intrigued by productions that make use of non-theatrical spaces, the architecture and outdoor element of the Old Quad was a particularly well thought of choice for this production. With its dimmed night lamps, rustic architecture, and the cold wind sweeping through its arches, the place brings about an ambience that heightens the theatre experience to another level. As Director Helen Slaney noted, "...the Old Quad's neo-Gothic stonework does lend a certain gravitas to some otherwise frivolos proceedings."
Throughout the show, audiences needed to move around to get a better view of the ever-changing stage. Performances held in this way included more interactivity with the audiences and provided varying views of the scene as audiences could move their positions. No need to worry about where to go, the stage manager will lead the way with silent hand gestures.
Omniprop has a had a particularly strong group of cast with everyone highly enthusiastic and in character even during intermission. Seamus Magee's consistent performance and presence throughout the play was a key link between scenes, and nothing could distract our eyes from the breathtaking performance given by Nicholas Kato. Their double roles were done particularly well, not forgetting Nicholas' battle with himself as both Apollo and Bernard Grenfell. Olympia Bowman-Derrick's Godly presence was like a breath of fresh air to the play. But the play would not be the same without its Satyrs (who were also enchanting Fallaheen Chorus members), with their pointy ears and costumes that bared a Satyr's manhood in all its glory. They slink around the columns, crisscross between the audiences, all the while bearing out their emotions out to you. You couldn't ask for a more convincing and mischievous group of Satyrs.
Although I'm not the biggest fan of greek mythology, I was considerably impressed by the performance. Always intrigued by productions that make use of non-theatrical spaces, the architecture and outdoor element of the Old Quad was a particularly well thought of choice for this production. With its dimmed night lamps, rustic architecture, and the cold wind sweeping through its arches, the place brings about an ambience that heightens the theatre experience to another level. As Director Helen Slaney noted, "...the Old Quad's neo-Gothic stonework does lend a certain gravitas to some otherwise frivolos proceedings."
Throughout the show, audiences needed to move around to get a better view of the ever-changing stage. Performances held in this way included more interactivity with the audiences and provided varying views of the scene as audiences could move their positions. No need to worry about where to go, the stage manager will lead the way with silent hand gestures.
Omniprop has a had a particularly strong group of cast with everyone highly enthusiastic and in character even during intermission. Seamus Magee's consistent performance and presence throughout the play was a key link between scenes, and nothing could distract our eyes from the breathtaking performance given by Nicholas Kato. Their double roles were done particularly well, not forgetting Nicholas' battle with himself as both Apollo and Bernard Grenfell. Olympia Bowman-Derrick's Godly presence was like a breath of fresh air to the play. But the play would not be the same without its Satyrs (who were also enchanting Fallaheen Chorus members), with their pointy ears and costumes that bared a Satyr's manhood in all its glory. They slink around the columns, crisscross between the audiences, all the while bearing out their emotions out to you. You couldn't ask for a more convincing and mischievous group of Satyrs.
The costumes fitted each character well and the use of simple props accomplished its purpose. More awareness as to the position of the lamps lighting the space would have helped to light the cast in a more effective way, as there were many times where the positioning of the lamps and the cast affected the mood created. The music in this play ranged from A Capella to hard rock, and the structure of the Old Quad provided enhanced the music that was played and sung.
It is easy to applaud the efforts of this production, but it is even easier to recommend spending $10 a ticket for a play that provides a free warm and spicy ginger-apple concoction for braving the cold. I thoroughly enjoyed all the comical antics and the heart wrenching moments; everything came together so well and I would like to congratulate all involved for your efforts.
The Trackers of Oxyrhynchus runs until Saturday 29 August at 7:30pm. Meet in front of the Mudfest Club at The Open Stage, Level 2, Arts Centre (Corner of Swanston & Grattan St). $18/$12/$10. Bookings: www.union.unimelb.edu.au/tickets
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