Click HERE to see all caps from “Inanimate” in the gallery. Some previews:
I also made screencaps from the clips, as well as from the clip in Cyna Strachan’s showreel 2015 video. Click HERE to see all clip caps. Some previews:
By Lucy Kirkwood
Gabrielle Chan, Jason Chong, Geraldine Hakewill, Brent Hill, Monica Sayers, Mark Leonard Winter, Anthony Brandon Wong, Charles Wu
Previews 28 Feb – 3 Mar 2017
Season 6 Mar – 1 Apr 2017
Performance start times
Preview performances 7.30pm
In-season performances Wed – Sat 7.30pm; Mon & Tue 6.30pm; Wed 1pm; Sat 1.30pm
Want to know more about the play and ticket info, go visit sydneytheatre.com.au.
The hit Australian thriller drama series Wanted that became both a critics darling and a fan favorite in the first chapter, is commissioned for a second series by Seven Network. Far from being a surprising move, the renewal was obviously warranted by the top-notch ratings. No further details have yet been revealed regarding an approximate release date or any storyline twists, so please stay tuned, and we’ll keep you informed regarding any significant developments.
Gibney’s still wanted
A second season for Channel 7’s top-rating drama debutante, Wanted will reunite one of the best female pairings since Thelma & Louise, with Rebecca Gibney telling me her co-star, Geraldine Hakewill was “ the perfect partner in crime” in the series which launched earlier this year:
“Geri and I get on like a house on fire so we can’t wait to return to life on the run.” Filming starts next month.
Photo by Julia Robertson
Audiences for Low Level Panic shouldn’t feel surprised if they sense their inner voyeur turned on during the course of the evening.
Justin Martin, the show’s director, would be disappointed if it wasn’t. Part of his job in bringing British writer Clare McIntyre’s probing and very funny three-woman play to the stage, he says, is to make sure that sexualising gaze – the male gaze – comes into play.
“You have three women who share a flat and the play is observing them in their private space – their bathroom,” says Martin, who is staging the show at the Old Fitzroy Theatre. “The play is about how women survive and live with that male gaze.”
Martin has already seen the effect McIntyre’s provoking 1988 play can elicit. He comes to the Old Fitzroy having directed a critically praised production in Ireland in 2014.
“Low Level Panic talked to what was going on over there at the time,” Martin says. “There were incidents of young girls and boys being captured on mobile phones having sex. The reaction was as you might expect: the girl was a slut; the boy was a legend, and the person who put it online was an innocent bystander. We wanted to look more deeply at that reaction.”
The play strikes Martin as no less pertinent to Australia in 2016. “It feels right to bring the play into the conversation about sexism, [online] trolling and what has been happening in the media.”
For actor Kate Skinner, who co-stars with Amy Ingram and Geraldine Hakewill, the play’s title describes what women experience most of the time.
“It’s an anxiety you can’t quite put your finger on, a sense that you are doing something wrong, or that something might happen to you, but you aren’t allowed to talk about that anxiety,” Skinner says.
“If I call it out, what will be the response? Will there be backlash? Will people say it isn’t really happening? When you work on a play like this, you can’t help see the way things are more clearly.”
Hakewill agrees. “As women, we live with that anxiety, we normalise it. It’s like we’re meant to feel this way and we can coast along like that. It’s not until you start questioning that at some point in your life, because you see a play or read a book that highlights it, or because you’ve been abused or made to feel uncomfortable in some way, that you realise how ingrained it really is.”
McIntyre, who died in 2009, wrote her breakthrough Samuel Beckett Award-winning play to examine the effects of pornography on women’s behaviour and self-image. It was created in a time before the internet became widespread, and before smart phones and social media.
In McIntyre’s original, one of the flatmates finds an unwanted Penthouse magazine stuffed into their rubbish bin. In Martin’s production, sexualised images of women are everywhere, all the time, and unwanted comments are just a tap of the smartphone away.
Having an audience observe the private rituals of everyday life in what will be a working, plumbed-in bathroom in this intimate theatre will be a challenge to the easy voyeurism and sense of male entitlement that has developed with the internet and social media.
“I’m directing the play to show how even the most banal moments between women – like the painting of toenails – can be sexualised or misconstrued,” Martin says. “Hopefully, by exercising that awareness, we can change the way people look at the world.”
The object is not to teach men a lesson, adds Ingram. “It’s about seeing your thoughts rather than just being your thoughts. Even if one person comes out of the play, male or female, and says, I’m going to shift the way I look at things, then we’ve done our job.”
SOURCE: theage.com.au / Photography by Peter Rae
Low Level Panic explores questions of female sexuality in a unique setting at the Old Fitz Theatre
An open discussion about pornography might seem a risky method through which to explore the way women view themselves — but according to Justin Martin, director of Low Level Panic, it’s one that is necessary.
As Red Line Productions newest play, Low Level Panic focuses in on the experiences of three women and their perception of themselves and each other, using the lens of pornography to create a dialogue about issues which affect us all.
“I think pornography, and they say in the play, is the tip of the iceberg. Pornography is a jumping off point rather than necessarily what the play is about,” Martin said.
Kate Skinner, who plays one of the women in question, said the often taboo topic was a catalyst for how the women “deal with something that has already happened. So in a way it gives them something to talk about so they can talk about much bigger things,” she said.
Set in a bathroom, the play offers a unique and voyeuristic insight into the insecurities the women have and the struggles they face when confronted with an idealised version of their gender.
“We took this idea that the women in the play are exploring the female gaze and the way they see themselves and the way in which they are refracting the way they see themselves based on a male view,” Martin said.
“At the same time you’re allowing that private space to be viewed publicly which suddenly allows me as a male director in the context of that to explore the male gaze where something very domestic is sexualised, or might be misunderstood,” he said.
The issues raised in the play highlighted the unrelenting saturation of sexualised images in media and advertising in the world, Skinner said.
“Through doing this play and through collating things in the world that have to do with it, I definitely think I look at myself and how I stack up or don’t stack up to the ideal women — I look at that very differently now … It hits me in the face in a way it wouldn’t normally,” Skinner said.
There is a lot of humour in the play as well — a tool which makes the play accessible to both male and female audiences, he said.
The aim of the play is to encourage a debate which people want to have — not one where men try to “defend themselves” but feel “empowered by the idea that there are amazing women in this world,” Martin said.
“All women are amazing but these three characters are amazing and interesting and we need to support them and we are a part of the world with them,” he said.
SOURCE: dailytelegraph.com.au / Photography by Chris Pavlich