As the title suggests, this is a story about loss. It begins with relative familiar territory, the loss of a grandparent, and slowly develops into portraying Aboriginal cultural loss and reconciliation, less familiar territory. The most positive thing about this play is that it doesn’t point any fingers, or make the audience feel under attack. Rather it aims to send a message and educate us so that we can attempt to understand.
The play is performed entirely by Lisa Flanagan, who does a stellar job. I felt an instant liking towards her walking to my seat as she sat on the edge of the stage smiling warmly as the theatre slowly filled. An introduction to the show by her Aunt made us feel surrounded by family, as if we were guests sitting around her kitchen table, privileged to be hearing such personal tales.
A minimalist stage and few props ensured that focus was not taken away from the dialogue. Projected images on a black cloth screen showed black and white photographs of the deceased, mirrored by family photos kept safely away in a briefcase. Soft, orange sand was used to great effect. Photographs were projected on the sand as it fell from the hands of Lisa, creating a rippling effect of the image. A simple yet visually striking effect.
Written by Wesley Enoch and Deborah Mailman, two of Australia’s leading Indigenous theatre artists, this show promises an evening of good story telling told first hand.
Kryztoff Rating: 4K
This innovative production combines elements of contemporary dance, spoken word and visual projections to portray a family enduring tough times after surviving Ash Wednesday.
Adelaide choreographer Katrina Lazaroff (pictured below) has put together a truly touching show. This is actually the third installment of Pomona Road, finally uniting a family of five. They are established as warring siblings and loving parents through a varied soundtrack (voiceovers and songs) and choreography that connects with the average person. As the plot unfolds, unresolved tensions seem to rise to the surface, as do questions relating to child abuse and alcoholism.
Martial arts have also influenced this piece – and are particularly useful when expressing frustration, anger and violence.
Nic Mollison also should be applauded for creating realistic projections of the forest, the bush and the city. The main set piece constructed by Richard Seidel is unexpectedly versatile.
The 60 minute production appeals to more than the typical fan of dance as a genre – this emerging style of ‘documentary dance’ engages anyone with an appreciation for the arts.
Pomona Road is only running until 24th April 2010 at Space Theatre – see it while you still can!
>>> For more on the Arts around Adelaide, check out Kryztoff: Edition 12.
Mela, Adelaide’s annual Indian cultural fest at Elder Park, ended in farce when headline closing act, internationally acclaim hip hop stars, Street Assassins, were threatened with arrest for daring to entertain the crowd. Microphones were removed, lights turned off, sound systems unplugged in the ensuing complete organisational shambles.
Mind you, problems were brewing a long way out when entertainment was suspended for over an hour around 7.30. (The Premier was blamed for this along with the late start to the formal dinner!) By around 9pm when things resumed, more than 50 performers were lined for their time on stage, many of whom had been due to perform up to 3 hours before and some, like the Street Assassins, never made it before the 10.30 curfew kicked in.
Full story in this week’s Kryztoff out on Thursday. Pics on Facebook by Monday.