Selected productions

Ostrovsky,
The Scoundrel that you Need

The Scoundrel that you Need

Evelyn Krape, Elizabeth Thomson, Miria Kostiuk, Olga Makeeva, Steve Gome.
Design: Julie Renton

Photo: Ponch Hawkes

In this production we used screens and frames to present the world of appearance and illusion within which the trickster flourishes and intrudes upon society.

 

William Shakespeare,
Antony and Cleopatra

William Shakespeare, Antony and Cleopatra

Rehearsal photo. Ian Cambell (Antony).
Design: Alice Nash

In this production we explored the interplay between actors and physical materials to embody the colliding worlds of the play – rope for Rome (Antony and Octavian), fabric for Egypt (Cleopatra, Chairman and Isis) and iron for the intrusion of Pompey.

 

The Cherry Orchard
by Anton Chekhov

The Cherry Orchard

Margaret Ricketts and company.
Design: Neil Greenaway.

Photo: Peter Wilson

In this production we choreographed on the stage events which Chekhov imagines taking place off it; in this image the ballroom scene.  The production was built around, and a tribute to, the distinguished Geelong actress, Margaret Ricketts, here seen as Ranevskaya.

 

The Dolphin Play
with Gavan Daws

Choreography, Nanette Hassall, Rinske Ginsberg

The Dolphin Play

Tom Considine, Bernadette Fitzgerald.
Design: Neil Greenaway.   Music: Les Gilbert
Choreography: Nanette Hassall, Rinski Ginsberg.

Photo: Peter Wilson

The story was drawn was the theft of two dolphins retained for experimental purposes at a US naval facility in Hawaii.  Historian/writer Gavan Daws had done substantial research on the subject and worked with us to create the play.  We used a combination of contact release work and swivel trapezes to embody the movement of the dolphins and created a sound landscape to suggest the interplay between human signals to the dolphins and the sonic world that they inhabited.

 

Clyde Company Station

Clyde Company Station

Ernie Gray, Robert Draffin, Margaret Ricketts and company.
Design: Barbara Ciszewska

Photo: Ian Fox

The production was based on The Clyde Company Papers, a compendium of documents related to the foundation of an early pastoral company which set out from Geelong.  It was one of a series of plays staged by the Mill Theatre created from materials of Geelong’s history.  The Clyde Company Station was composed of patterns of sound, movement and narrative, evoking the different spaces occupied by the company and its investors in Scotland and Van Diemen’s Land.

 

The Burning of Bentley’s Hotel

The Burning of Bentleigh’s Hotel

Photo: Ian Fox

This production was part of the Geelong history series and was based on the interplay between Geelong and Ballarat during the gold rush.  The theatre was laid out in a grid form (the ropes suggesting this can be seen on the floor).  This depicted the administrative arrangements which controlled the diggings and eventually sparked the confrontation with authorities in the burning of Bentley’s hotel and the insurrection at the Eureka Stockade.  The play used game-structure to evoke the narrative and involve the audience in interaction with the performers.

 

Bertolt Brecht,
The Caucasian Chalk Circle

The Caucasian Chalk Circle

Barbara Ciszewska as Grusha crossing the bridge, with Tom Considine, Ian Scott and Diana Stewart.
Design: Neil Greenaway.

Photo: Peter Wilson

The production used  rope, fabric and ceramics to depict Grusha’s journey, travelling with her between the two spaces of the theatre.

The Chalk Circle

Tom Considine and John Jacobs.

Photo: Peter Wilson

 

Baal
by Bertolt Brecht

Baal

Susie Fraser, Jane Refshauge, William Henderson.
Design: Neil Greenaway.  Music: John McCaughey

Baal was performed by  three women and two men.  Each in turn took on the role of Baal. We attempted to create a landscape on the human body which reflected and embodied the poetic landscape of the text.

 

Samuel Beckett,
Waiting for Godot

Waiting for Godot

Peter Finlay, William Henderson, John Jacobs, Barbara Ciszewska.
Design: Neil Greenaway.

Photo: Brendan Hennessy

The worlds of the tramps and their visitors collide.

 

Aeschylus,
Oresteian Trilogy

Oresteian Trilogy

Meredith Rogers as Clytaemnestra and Barbara Ciszewska as Cassandra.
Design: Neil Greenaway

Translation: Rush Rehm

Photo: Suzanne Davies

Review:

“If you are concerned with theatre in any form, if you are concerned with life, if you are concerned with yourself, if you are concerned with anything, you must see this.  It took eight months to prepare. You must spare one evening to receive it.”

Paul Salzman, Lot’s Wife

The production used the interplay between dance and and spoken word to unleash the forces that contend in the plays. We constructed different seating arrangements for each of the plays (made possible by the Pram Factory’s flexible space) in order to depict their different worlds of the trilogy and the different forms of theatre used to express them.