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What The Dickens! - Elaine Mitchell, May 2011

What The Dickens! directed by Elaine Mitchell for Theatre of the Winged Unicorn, Ceres Hall May 21 2011

It's one of the predictable elements of Geelong's theatre scene that Ceres's ToWU will present 19th Century literature in lush, lavish style.

After all, it's director Elaine Mitchell's favourite period, genre and, as a textile artist, she delights in the crinolines and costumes.

The company has presented many such adaptations over the past decade, but none quite as splendidly grand - or generous - as this.

Billed as 'a Victorian evening celebrating the work of Charles Dickens', the production began and ended with an elegant mass-character musical pastiche choreographed by Anne Peterson-Commons. These bracketed a series of readings, excerpts and scenes from 12 of Dickens' novels neatly linked by a handful of traditional folk songs, some original songs and snippets of flute solos. The 16 players switched characters - and costumes - with swift and seamless ease and if you're thinking all this would add up to a long and complex night - you'd be right. The first half took 80 minutes - as long as the two previously reviewed plays did in total - and the entire What The Dickens! lasted a tad under three hours including a (supposed) 15-minute interval. Not that anyone in the full audience complained, or minded, such was the compelling fare. Because the combination of Dickens' writing portrayed by an evenly excellent cast and directed with loving care made for delightful, and at times mesmerising, theatre.

At first impression, the players appeared to be unevenly distributed with their character parts, with some shouldering a majority of work while others presented mere cameos; but there was no occasion when an actor appeared to be miscast or struggling with the burden.

Leading the list of hardworkers were Bruce Woodley, Ben Mitchell and newcomer Andrew Weinmann. Each were chameleon-like in their own ways, within Ben's powerful projection, Bruce's light and sensitive insights and Andrew's calm, competent presence.

Their female equivalents were the oh-so able Heather Dempsey, captivating Jocelyn Mackay and ultra-versatile Miriam Wood with pert Colleen O'Toole and stately Marilyn Nash not far behind in the number of allotted roles.

Experienced campaigners Allister Cox and Melissa Musselwhite added their skills, Ferri Bond brought a glorious Mrs Gamp and the company's mature-aged debutants Rhena and Dennis King providing touches that displayed their wealth of experience. Meggie and Dennis Mitchell weighed in with music and cameos and Liam Dempsey made a highly suitable Pip, especially to Ben'

s looming and intimidating Magwich.

The acting quality was never less than first class, the costumes and attention to detail outstanding, the treatment of The Coventry Carol just beautiful - and - need I say more?

It's Elaine Mitchell and ToWU Ceres' traditional fare. It's delightful, it's charming, go see it. You'll love it.

- Colin Mockett

This, That and T'other - Dennis Mitchell, June 2010

This That and T’other a collection of the writings of Dennis Mitchell, 19 June 2010.

This aptly- titled piece of theatre was essentially a grab-bag of thoughts, ideas and memories from Dennis, delivered by the man himself along with some talented friends.
It contained a single song, I Still Call Corio Home – a not-too-subtle parody of Peter Allen’s original – plus what amounted to a radio play, a poignant poem, pungent monologue, a couple of practical book-readings, an indulgent wander through childhood - all delivered with a good deal of charm – but all leading to an unexpected finale which started as a humorous monologue from Dennis based around his visits to the doctor, and ended with the declaration that he’s now living with cancer and, on balance, would have perhaps preferred not to have been told…
It brought the evening of gentle, urbane charm down to earth – but not with a bump. Like all before it, this segment was told with such calm, warmth and smiling skill that the audience found themselves digesting the content while applauding the neat theatre of the delivery.
Those friends, Colleen O’Toole, Jocelyn Mackay, Ray Jones and Marylin Nash were all on stage for the first piece, Gertrude, which was an international story, originally written by another friend, Heather Dempsey, who was to be seen operating the show’s sound and lighting desk. It had been adapted by Dennis to become essentially a 40-minute radio play, read live on stage with Jocelyn in the lead and the others taking several character parts in a variety of accents as the storyline unfolded across two continents. The evening then continued with a series of much shorter pieces; Dennis’ song parody, his gentle poem on ageing and reminiscences of his childhood in Lancashire, punctuated by Colleen’s beautifully delivered modern monologue Half Price; Jocelyn in a flowing black cloak telling a chill story of a Welsh witch who met a dramatic end and Marylin, delivering Lancashire love story – also with a poignant ending.
But none of the contrived, written endings had a fraction of the impact of Dennis’ gently delivered true one.
If you can get to see this performance, do so. It’s on again this afternoon, and has a simplicity and charm that’s compelling. If you can’t get to today’s performance, well, I sincerely hope to see it updated and restaged in a couple of years…
- Colin Mockett

Confusions - Alan Ayckbourn, May 2010

Confusions directed by Elaine Mitchell & Heather Dempsey for Theatre of Winged Unicorn. Ceres Hall May 14, 2010.

TOTWU, its founder/director Elaine Mitchell and Alan Ayckbourn do not make a natural fit.
Elaine is foremost an artist with a love for 19th Century literature. As such, Geelong audiences have come to expect, almost as a tradition, that when her company takes over her local venue, the historic Ceres Temperance Hall, they’ll experience an artistically staged fully costumed flowing drama in the Dickens/Hawthorn/G&S style.
So this simply staged piece of 1970s Ayckbourn comedy came as something of a surprise. But by golly, it worked. This production was visually excellent, its content insightful, funny – and as a bonus, it made first-rate theatre.
Elaine and her co-director Heather Dempsey’s decision to keep their staging as unobtrusive as possible – using plain white furniture and props against a black background – went totally against TOWU tradition. But it did clear the way for their well-chosen ensemble cast to deliver Ayckbourn’s shrewdly clever perceptions of the human condition with maximum impact.
Their further choice, to keep the cast-list small, with each player in a number of different parts, gave their ensemble a chance to display some fine on-stage skills. This was further enhanced by a clear no-frills approach that had each actor delivering every line in normal tones, never over-playing for laughs. The result was a delightful, natural and very funny treatment of Ayckbourn’s five neatly written, sharply observed social scenes.
The first portrayed a harassed mother so set in her child-rearing ways that she used it on her adult neighbours; the second featured a sad and lonely would-be adulterer; the third a triangular restaurant social-climb wrangle; then a clever series of park-bench conversations and finally a scene from the Fete from Hell.
Every scene worked; every aspect was funny. And every one highlighted a different feature of that talented cast. So Miriam Wood, wonderfully distracted as the mum, returned as a nervous, introverted spinster in the park, then became a stressed caterer at the Fete. All were finely, perfectly drawn. Ultra-dependable Ross Pearce began as a slobbish bloke, morphed into an executive snob, a wary refuge–seeker in the park then the ringmaster of absolute havoc at the Fete. Ed Dolista’s welcome return to the Geelong stage saw him play a series of losers; the sleazy would-be adulterer became a status-obsessed cuckold, a card-carrying loner then finally a sadly, drunk non-pack leader. Melissa Musselwhite changed from being a concerned nosey neighbour to become a knowing wronged wife and then a disheveled posh dignitary. The lovely Kate Hunter moved from seducer Ed’s aware target to become his vengeful wife then a naïve beaten-up girl in the park. Tony Wright played the waiting game, first discreetly, then with tested patience before he was bancrupted in the park then became a dithering vicar. Assistant director Heather competently filled the final part as Kate’s attractively scented workmate.
Please go see Confusions - for all the above reasons. It’s shrewd, funny, insightful and a very good evening’s theatre. It also shows an unexpected aspect of the Ceres entertainers.
- Colin Mockett

Private Lives - Noel Coward, October 2009

Private Lives directed by Elaine Mitchell for Theatre of Winged Unicorn. Ceres Hall Sept 27, 2009.

This delightful piece of theatre had elements to enjoy at every level. Noel Coward's elegant, witty script was played out on an accurate 1930s set shoe-horned on to Ceres Hall's tiny stage. The talented cast, bedecked in sumptuous 30s costumes, delivered Coward's brittle dialogue with terribly, terribly cut-glass accents and lashings of period panache. The simple plotline - which revolves around a rich, shallow divorced couple, well-matched in contrite and tactless superficiality, who meet again when coincidentally honeymooning in adjoining rooms - was unwound to its (fairly obvious) conclusion with a great deal of flair and flamboyance. This was more than enough to satisfy the refined tastes of its 21st Century audience, which laughed throughout – in all the right places.
It should be noted here that when played with such care, skill and talent, even 80-year-old marriage dilemmas can bring laughter aplenty to today's supposedly media-satiated cynical audiences. And this was a particularly skilled cast, under the control of an artistic, intelligent and experienced director.
The on-stage talent was headed by wonderful Jocelyn Mackay, who wrung every nuance from her gilded, lovely but so self-centred shallow Amanda. In Jocelyn's hands, this character became real, and curiously lovable, even. But more than a match for her was Steven Georgiardis, as ex-husband Elyot, the part originally played by Noel Coward himself. Steven managed to convey this with Cowardesque gestures and diction, while still stamping his own worth on the part. The on-stage wrestle between these two was a masterly piece of choreography in such a tiny space. But there was more…As their wronged new spouses (spice?) Kate Hunter and Ross Pearce each gave beautifully weighted performances which both fleshed out their characters while offering light and shade to the leads. Beautiful Kate moved her Sibyl from cloying newlywed to perplexed wronged wife with aplomb while Ross took his Victor through prim bridegroom to blustering aggrieved husband with accomplished ease. These four principals were neatly supported when necessary by verbose cold-ridden French maid Marylin Nash.
Altogether, this became much more than a revived dated Noel Coward play. In the hands of these Unicorners, it was a clever, refreshing and almost joyful piece of human-behaviour theatre. I can't recommend it highly enough. Go. Enjoy.
- Colin Mockett

The Tempest - William Shakespeare

directed by Elaine Mitchell Ceres Hall May 16, 2008.

This could almost be counted a signature production for Elaine Mitchell. She has been cooking up to it for the past two decades. That's how long she's been creating visual and textile artworks of the play's characters in her distinctive colours and flowing style. To see them realized on stage must have been as heartwarming for her as it was for us.

For this production was visually striking. Its set was brilliantly complex - and distinctive - in its drapes and fabrics, yet sparse and functional in its staging. It comprised a huge fairy grotto made from seaweedy fabrics that enveloped the whole stage, which pushed most of the action out on to a multi-level thrust stage taking up the Hall's centre. We mere-mortal audience were arranged around the edges, looking inwards. And if the set was distinctive – well, it paled in comparison to the costumes on view. The clothes for this production were stunning in their drama and complexity - as were their accessories, make-up, hats, wigs, shoes – and fingernails. Every one of them designed by, and distinctive to Elaine. That was the visual artist at work.. On-stage, the theatre director Elaine Mitchell had assembled and drilled a team of actors to present her vision of Shakespeare's final work with precise and loving care. These were led by a trio of outstanding performances. First up was Ben Mitchell, the director's son. Ben should have been way too young for his part as the wizard father-figure Prospero, yet he carried the role with ease by the power of his voice projection and compelling stage presence. His was a dominating performance, helped considerably by his all-enveloping costume. Yet this was matched – and sometimes surpassed - by Steven Georgiadis, who played his slave/monster Caliban as a crawling, conniving, rebellious - and totally compulsive - alien. Balancing this was Julie Fryman's light- sprite Ariel, the brightest, happiest, nimblest fairy of the bunch, with a delightful singing voice that harmonized beautifully with Heather Dempsey and Amelia McBride in their Goddess scene. But thinking back, there were eye-catching performances – and performers - throughout this production. Ross Pearce played his elderly retainer Gonzalo with both accuracy and flair, Robert Trott and Joshua Verspaandonk made highly creditable conspirators and John Calvert gave gravitas to his regal role as Alonso. Ray Jones and Michael Lambkin clearly revelled in their clown roles as Trinculo and Stephano, while Kath O'Neil and Alard Pett were so suitably staid as the destined lovers. Dennis Mitchell carried his small but crucial Boatswain part with practiced ease while Lauren Muscat, with Timothy and Josephine McQuillan provided delightful tiny sprites.

But memorable as the performances were, the lasting impression from this production was that we audience were able to see the visions inside Elaine Mitchell's head – and that's a place of fairies, Celtic music, Shakesperian plotting - and magic.

- Colin Mockett