https://classic.augustasupple.com/2011/10/summer-of-the-seventeenth-doll-belvoir/ Thu, 14 Aug 2014 23:31:48 +0000 hourly 1 https://wordpress.org/?v=4.4.27 https://classic.augustasupple.com/2011/10/summer-of-the-seventeenth-doll-belvoir/comment-page-1/#comment-9488 Fri, 21 Oct 2011 01:09:52 +0000 https://classic.augustasupple.com/?p=2918#comment-9488 Hey Frank ,
Thanks for writing in. Glad you enjoyed the show.
My comment is really about how the working class background is nuetralised in Australian actors in order to make them more attractive to studios and international work – it’s a comment on training and how our authentic voices are re-invented. i don’t deny they might have working class roots – but how often are these exercised/practiced/revealed on the Australian mainstages?
I just didn’t think there was much naturalism going on – in the set or the performances – it seemed overly self-aware to me, that’s all.
Happy we disagree – because I wouldn’t want anyone to NOT enjoy a theatrical experience (especially on my behalf).

]]> https://classic.augustasupple.com/2011/10/summer-of-the-seventeenth-doll-belvoir/comment-page-1/#comment-9487 Fri, 21 Oct 2011 01:01:44 +0000 https://classic.augustasupple.com/?p=2918#comment-9487 I disagree with your working class comment. Steve le Marquand would be the most working class actor in Australia (2 Hands, Last Train to Freo, Hill 60) and Susie Porter comes from Newcastle. Robin Nevin also has working class roots. Dan Wylie used his normal voice – not sure what your point is. I thought the acting was uniformally superb. I also thought the set was great.

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