Interview with Tara Clark

24 Aug

Earlier this year, Two Peas presented their inaugural work, We’re Bastards.  Soon they follow this up with Jennifer Forever, a new work by Tara Clark that explores some rather dark places in human behaviour.

Here I chat to Tara:

Me: Where did the idea for Jennifer Forever come from? Tell me a little about the writing process.

Tara: Where any of the ideas I have ever had really truly came from, I’m not sure. Boredom. A need to be doing something. A line of dialogue I have to give a context to. I think we’re so over saturated with creative stimuli sometimes that it’s almost impossible to distill what spawned a project. I need to create so I always have more projects on the go than I do fingers to count them on. When I started writing Jennifer Forever I was working in dry cleaning and I found myself with a few hours late in the evening between customers. I couldn’t close up and all the work was done, so I started to write. It’s a cliche, I know, but I wanted to write a role that I would want to perform. As an actor, roles for my type can be pretty uninspiring (and few!), and I sat down to write a character that I would eventually take on to perform. I knew she had to be a certain age and type, so I sat down and started with, “The room is empty, except for GIRL.” I’m not really sure how it unfolded from there, but after writing Scene 1, I am positive I didn’t have a plan for Scene 2. I worked on the play over 2 years and the story changed as I went. The most exciting part of the writing process for me was a round table read with about eight of my fellow actor friends. While they’re tremendously supportive, they’re also very honest, and getting their direct feedback was invaluable.

Gemma Scoble as 'Girl', photo by Lee Nutter

Gemma Scoble as ‘Girl’, photo by Lee Nutter

Me: What has the process of taking the play from page to stage been like? 

Tara: Wonderfully terrifying! I always thought casting the female role would be easy and the male role difficult but it was the opposite, in fact. When we made the decision to produce the play (the call was made in March to put the show up in September) I decided I needed to hand the female role over to another actor. I felt as though I knew her so well that it would be awfully unfair of me to bring on a director and ask them to direct me in a role that I felt I knew better than the alphabet. I made the decision to direct and to cast the female role and the process of casting was not as easy as I had expected it would be! However, we were able to lock in two phenomenal actors (Dominic McDonald and Gemma Scoble) and I know that Gemma will perform the role better than I ever could.

Rehearsing with Dominic and Gemma has been a whole lot of fun. As talented as they are, they’re both just great people to be in the company of, and rehearsing with them has never felt like work.

Me: What do you think audiences will get from Jennifer Forever? What would you like them to think about or feel?

Tara: I often say that, the older I get, if there is one thing I can say that I know to be true, it’s that I truly don’t know anything. I want Jennifer Forever to pose questions to which there might very well be a number of correct answers, and I would like the experience to perhaps counter what each audience member believes to be true and allow them to consider the many shades of grey between black and white. I think many people will feel confronted, even disgusted, at some of the actions of the characters, but I’m interested to see if, amongst all of that, there is any room for pity and understanding. And maybe there isn’t. I don’t know.


Jennifer Forever by Tara Clark

17 -28 September

Old 505 Theatre


22 Jul

This is a brilliant production.

I’ve made no bones about the fact I don’t like the Greeks. (Not the current ones. The ones who died about 2,500 years ago.  And, no, the bones comment wasn’t an intentional pun.)

The great Greek dramatists explored ‘universals’, or at least that’s what we’re tempted to think. Distance has lent them a grandeur. But they wrote in a society every bit as fractured and filled with contention as ours, and much of what we have raised to the status of classics were in their day part of a hard fought cultural war.

In Greek society one of the great divides was that between the philosophy of rationality and the theatre of fate and deep dark forces. Socrates and Euripides were contemporaries.

When I see current productions of the ancient Greeks, I ask ‘Why are we interested in their myths?’

From a purely personal perspective, I’m suspicious of any view that sees the world as ruled by fate and irrationality. It seems like just one more way of disempowering ourselves, of trying to mask the fact that we enjoy lives of extraordinary privilege, and hence of unprecedented responsibility. If the Furies were to drag me off today and I was to die horribly, blind and in exile, it would not override the fact that up until this point I’ve lived 49 years without ever being hungry except through choice.

Photo by Sasha Cohen

Photo by Sasha Cohen

But I started by suggesting that Michael Dean’s production of Euripides’ play is brilliant. And it is. It’s extraordinarily inventive and a visual treat. The cast are marvellous. The individualised characters (Danielle Baynes as Phaedra, Melissa Brownlow as the Nurse, Richard Hilliar as Hippolytus and Katrina Rautenberg as Theseus) are played with a beautiful strength, which powerfully highlights the tragedy of the conclusion. The Chorus (Sinead Curry, Cheyne Fynn, Nathaniel Scotcher and Jennifer White) is wonderfully mischievous, both fun and foreboding. The use of pop music is frighteningly effective, suggesting the hidden menace lying behind our seemingly harmless daydreams and fantasies.

Phaedra is a reworking of Euripides’ Hippolytus. It’s a myth of the power of sexual desire. In the ancient Greek world, humans are the playthings of the gods. Phaedra’s passion is a divine punishment.

So what’s our modern myth of sexuality? A sort of flat biological reductionism. The consequence of our decidedly anti-existential myth is that sexuality is robbed of both its magic and danger. And where did our dull unhelpful myth come from? From the victory of the rational viewpoint. So perhaps the Greeks are worth a revisit.

Veronica Kaye


Phaedra (based on Hippolytus by Euripides)

TAP Gallery til 26th July


Interview with Danielle Baynes

16 Jul

This week Lies, Lies and Propaganda open Phaedra, based on Hippolytus by Euripides. To tell this classic tale of the power of desire, director Michael Dean has assembled a brilliant cast.

Here I chat with Danielle Baynes, who plays Phaedra.

Me: What are the joys and challenges of preparing for your role?

Danielle: Preparing Phaedra has been equal parts joy and challenge. It’s been very interesting exploring the concept of shame and honour, something that all of the characters have to wade through during the course of the play. Phaedra is incredibly eloquent on the subject and you can get a bit lost psychoanalysing every idea and image, so the challenge has been turning that into full-bodied behavior and creating an interesting person for the audience to spend time with. There’s been great freedom in creating the goddess Artemis as well, who sort of swoops in at the end to tell everyone how it is and then leaves in a blaze of glory!

Rehearsing Phaedra Photo by Hal Conyngham

Rehearsing Phaedra
Photo by Hal Conyngham

Me: Tell me a little about the rehearsal process.

Danielle: Our rehearsal process began with a couple of weeks of discussion around the table. We looked at a number of translations of the play as well as other adaptations like Sarah Kane’s ‘Phaedra’s Love’. We then started building the show on the floor and creating our wonderfully weird world. The Chorus worked quite separately from the characters for a few weeks and then we all came together to do a first run, which was a bit chaotic but really set us on the course for experimenting with how far we could take our ideas.

Me: What do you think an audience will get from Phaedra?

Danielle: Hopefully an awesome night at the theatre! I think they will see Greek tragedy in a way that they haven’t yet experienced. Our company is on a mission to take risks, experiment and possibly gloriously fail – which is always fun to witness! I also think the audience will feel they are more of an active part of the onstage world then usual (don’t worry there’s no audience participation!), but there is a intimacy at the Tap that we won’t be shying away from.



at TAP Gallery 16 -27 July

Book of Days

16 Jul

There’s a powerful set piece in the first act of Book of Days. I won’t spoil it, but suffice to say it deals with the way the announcement of a death is received. Beautifully staged and cleverly written, it perfectly presents the predominant theme of the play – hypocrisy.

Langford Wilson’s play is sort of Thornton Wilder’s Our Town, but with murder. (It’s not an appropriation. It’s definitely a subversion.)

Both plays are set in small Midwest towns.

Photograph © Bob Seary

Photograph © Bob Seary

Ultimately, Our Town presents small town life through the lens of the eternal; its mocking of the parochial is gentle to the extreme, and the play firmly asserts the value of the everyday, and of every life.

Book of Days offers a vision far less comforting. There are some seriously bad people in this play – and they’re respected members of the community.

Some audience members might find the second act unusual, undecided about the way the play becomes somewhat smaller, folding down to a whodunit.

But I think that’s the play’s purpose. It’s part of the American culture wars. It’s saying ‘What’s wrong with our simple dream?’ And it finds guilty parties.

Elsie Edgerton-Till’s production is terrific and her use of the space is magical. The performances are sensational. Kate Fraser creates a brilliantly engaging Ruth Hoch, the salt of the earth no-nonsense truth teller. The conceit of this play is that Ruth is playing Joan of Arc in George Bernard Shaw’s play. And like Joan, Ruth fights both Church and State. I’d further draw the contrasts and comparisons between Ruth and Joan, but I’d be guilty of dreadful spoilers.

In this play, there are characters guilty of far worse: Kyle Walmsley gives a chilling portrait of the intelligent, urbane and frighteningly calculating Reverend Bobby Graves. Simon Davey creates a marvelous portrait of a manipulative snake of a politician.

And a final word on Georgia Hopkins set design: a beautifully space to play, clean and pure, punctuated by only a single tree. The Garden of Eden? The Tree of Knowledge? The Fall from Paradise?

Veronica Kaye

Book of Days by Lanford Wilson

til 9 August


Interview with Hannah Ravensmith

13 Jul

After a sell out season, Edgar’s Girls returns to The Vanguard for one more night.

The production weaves text from Edgar Allan Poe’s short stories and poems, and has a cast of both actors and burlesque performers.

Here I chat to performer and director, Hannah Ravensmith.

Me: What are the joys and challenges of preparing for your role?

Hannah: My role in the production is quite physically demanding. I go from performing a feather fan dance to a 7 minute monologue. The joy of the production is its eclectic nature. It merges song, burlesque and dramatic monologue.

Edgars' Girls

Me: Tell me a little about the rehearsal process.

Hannah: We began creating the show last year. It was more of a series of collaborative workshops in which we threw ideas around and composed the show based on what we discovered together. I was very fortunate to have such a talented willing cast.

Me:  What aspects of the play particularly speak to you?

Hannah: I love Poe. I always have. I wanted to bring his work to life on the stage and I’d had the concept for the show in my head for a long time.  I love that the show has burlesque performers and actors working together side by side.

Me: What do you think an audience will get from Edgar’s Girls?

Hannah: I think the audience will walk away from this show feeling incredibly satisfied. It’s an amazing introduction into burlesque for people who have never seen a burlesque show before,  but it will also open up people’s minds to the genius of Poe himself.  His writings are some of the best ever written.

Edgar’s Girls

The Vanguard

extra show Thurs 17th July

Every Second

9 Jul

There are a lot of angry and envious people in this play.

Ok, there are only four characters, but they’re all in the same situation; they desperately want children.

I’m the worst possible audience for this.

I don’t understand the basic motivation of the characters. I want a child about as much as I want a rhinoceros.

Photo by Louis Dillon-Savage

Photo by Louis Dillon-Savage

So, on one level, I found the whole thing rather frustrating. There’s a grand secret but I wasn’t let in on it. The only explanation offered for the character’s desires was that everyone else had children – which, of course, wasn’t meant as an explanation at all.

The characters are middle class Australians. In one sequence, Georgina Symes’ character says she can control everything except her own uterus, which is a statement of staggering self delusion. It’s a pity this incredible power is not being used to slow climate change or solve third world poverty.

Vanessa Bates’ play is cleverly constructed with plenty of good laugh lines. Shannon Murphy elicits from her cast strong performances. But I couldn’t like any of the characters. (Yes, I’m a bad person – the weirdo who doesn’t want children.)

The set by Andy McDonell is intriguing. It suggests the lake in the park. It suggests a woman’s reproductive organs. It suggests a vortex, dragging the characters down.  This is not a play about finding, or sharing, joy.

Veronica Kaye


Every Second by Vanessa Bates

Eternity Playhouse until 27 July


Interview with Dave Jeffrey

9 Jul

Sydney Independent Theatre Company is about to revisit their hit production of Will Eno’s Thom Pain (based on nothing).

At its last outing, this is how I described this one person show, performed by Dave Jeffrey:

“one of the things that makes this play so very dazzling is its dynamic and endlessly inventive word play…..Jeffrey’s performance is touching and very, very funny.”

Here I chat with Dave.

Me: What drew you to Thom Pain (based on nothing)?

Dave: Well, firstly, I guess it was the prospect of doing a one man show, something I had never had the opportunity to do. It scared me. This was good. Then, of course, the writing. The language was so rich and complex, a dark beauty, with the opportunity for some clever humour. What a delicious script.

Photo by Katy Green Loughrey

Photo by Katy Green Loughrey

Me: What have been the challenges and joys of the rehearsal process (and a remount)?

Dave: Before we could do any productive rehearsals I needed to know and own the text. I didn’t at first realise just how huge a task this would be. I have played many large roles on stage before from Shakespeare to Willy Russell, but Thom Pain would eclipse them all. It took seven painful weeks of daily work to cram all that text into my brain. An extraordinary period of my life. I would dream the text. It did my head in a bit. This meant the rehearsals were not easy for director Julie Baz, but she managed to cleverly shape my pain into a performance I am still very proud of. On remounting Thom Pain, I would like to think we’ll  fix what we weren’t happy with and possibly make some new discoveries as well.

Me: What do you think the audience will get from the production?

Dave: I think and hope, if I do my job right, that the audience will have an entertaining evening of joy, sorrow, self-conscious terror, vivid imaginings and finally have good laugh.

Me: What would you like the audience to think about or feel?

Dave: I would the audience to think about what is truly important in life, a happy loving childhood, education, the evil of poverty, the magic and pain of love, and finally to not waste the gift we all have of life itself.


Thom Pain (based on nothing) by Will Eno

Old Fitzroy Theatre 15th July – 2nd Aug


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