This year I have tried to see a couple of shows that I woudln’t usually see- mainly because, they are at theatres which I don’t usually think to visit- why? Well I’m not sure. I can usually be found whereever the indpendent artists are launching a new show- New Australian writing is my preference- and so I see alot of fringe style shows- alot of emerging work (I have even been known to attend university shows to check out the talent) and shows that are for the hipsters who love to stand languidly in the corner of a foyer with asymmetrical haircuts lightly brushing their eyelashes whilst coyly sipping at a glass of red… and I see things I am curious about…

The Ruby Sunrise had a few pulls to bring me to it-
1. Matilda Ridgeway. She auditioned and performed in two weeks of Brand Spanking New 2008, and I believe after she auditioned, I wiped the tears from my eyes, emmitted an expletive and was instantly in awe of her.
2. Jonathan Prescott- whom I met sometime last year I think at The old Fitz- he was in Mary Scott at the Ensemble- and i missed his show- but seemed a genuine guy- and a regularly jobbing actor- was curious to check out his style.
3. Sandra Bates was quoted – I think in the SMH- as The Ruby Sunrose being her 100th Show- and as one of the most significant female artistic directors (yes that old chestnut!)- I wanted to see what a 100th show would be- what would an AD program as her 100th show?
4. Glenn Hazeldine- who is one of Sydney theatre’s absolute gentlemen. This is the third production I have seen him in this year (Tuesdays with Morrie- Ensemble and Elling – Sydney Theatre Company). I believe he is in the upcoming Soderbergh at The STC- so hopefully I will check him out there too…. and really when he’s on stage- you know you are in safe, intelligent hands: which is the place I most like to be… in one of my previous incantations as stage manager- I had worked with him on a show at BSharp- and he was then and is now- a remarkably centred actor.

What I discovered though- is that this play isn’t really my thing. I’m sure you could have told me that…. there are things that I admire about the ideas, and the performances are sturdy… a very clear production. But I may be so into New Australian work right now that I can’t see the forrest for the trees…. the script was a problem for me- I struggled with the first act. I struggled with trying to make sense of the style of performance- was I to understand that this was the re-enactment as told or imagined by Lulu? Or is this the actual event being played out? Or is this the script that is written in the second act? The style of the performance confused me somewhat- as it seemed highly presentational and somewhat playing the subtext too clearly. Everything seemed underlined and obvious. The second act however was much more nuanced especially from Catherine McGraffin and Matilda Ridgeway’s second role of Elizabeth. And there is alot in the script- the communist through line seemed distracting to the story I was most interested in- but then again- I suppose communism was the most distracting addition to the lives of many people during the 1950’s.

This style of theatre is definitely has its audience- as was present the night I attended…. (rather late in the run) … and I wonder what they thought of the script?

This review was first published for www.australianstage.com.au

The Ensemble Theatre’s stage has yet again transported through time and space to another era on the opposite side of the world- this time to a modest farm in Indianna in 1927.

When the lights dim, the set revels dirt- smudged Ruby Sunrise (Matilda Ridgeway), brightly recounting the moment of grand inspiration in which the previously undiscovered concept of “tell-a -vision” came to her. She is a remarkably bright and capable young woman who is largely self taught by he self-taught father who fills her full of facts from Popular Mechanics magazines. Before too long, we realise she is a runaway, who has sought refuge in Aunt Lois’ barn. Aunt Lois (Amanda Muggleton) yearns for Ruby’s father and is soothed by alcohol house in red glass bottles and her strapping young university boarder Henry (Jonathan Prescott). Before too long, Ruby’s grand ambition to build a “tell-a- vision” from stolen parts and modified materials becomes all-consuming, as is Henry’s burgeoning love for her.

The story, post interval, then shifts twenty or so years (and location) to the office of a television station in New York in which Ruby’s daughter Lulu (Catherine McGraffin) is working as a script assistant. When script writer Tad Rose (Glenn Hazeldine) is commissioned by fast talking boss Martin Marcus (Paul Gleeson) to write a show for the station, Lulu tells him the story of her mother- Ruby Sunrise.

Surprising to note that this is a contemporary script, written by Rinne Groff (one of the writers of the highly popular television series writers “Weeds,” and for those who saw “The Gatz” earlier this year at the Sydney Opera House- she is one of the founding members of New York based company Elevator Repair Service.) For this feels like an old script with its quaint and mellow undertones- a glossy yet ironic view of the entertainment industry, that would rival “Singing in the Rain’s” take on the introduction to “talkies.” There is something sweet about its simple sense of history- a time of fireflies and barns, and when rural isolation was common- and technology hadn’t quite facilitated our every need and whim.

Both mother (Ruby) and daughter (Lulu) have challenges and obstacles in their careers- both suffer in their careers despite good intentions, hard work and talent. The most interesting ideas in this play centre around the ideas of how technology- how television will change and shape the world in its pure democracy. Ruby talks of the grand democracy that will come as a result of every person being able to have access to information and news- that even perhaps television would stop war, because “who could bear to see war right in your own living room?” Ruby’s idealism and passion is however compromised by flawed process, lacking resources and isolation- and what chance does a brilliant girl with great ideas have up against the scientists of this world who are well resourced? What chance does a script assistant with a brilliant story to tell have, in the face of those expert executives who would corrupt it through compromise and catastrophic casting choice?

According to a recent interview The Ruby Sunrise is director, Sandra Bates’s 100th show- no mean feat for a director and this is a very clear story about the limitations life puts on success, which is executed in a very simple way. The Ensemble Theatre’s reputation for palatable, agreeable, clear theatre is very much maintained.