Jonathan Enters On A Giant Squid
To open this program we begin with – a play about a play. Seriously, when will people stop writing these? From writer Lachlan Bryan, this play is about an amateur theatre group staging the late, beloved director’s ‘masterpiece,’ which involves a giant squid. Whilst there are mildly humorous dilemmas over costuming, motivation and casting, director Gavin Roach doesn’t inject enough pace and energy into the script. Peter East as the embittered new director Erik does however put in one of the most enjoyable performances of the night.

Old Age
Emma Vuletic’s script is haunting yet familiar. Set in a time and place not too dissimilar to our world, the town is rotting as are the minds of its inhabitants. Bizarre events are taking place, and the memories of the elderly are retold within the confines of what seems to be an aged care facility, looking over the mysterious and deadly river. Jessica Symes directs with a subtle hand, and Emma Palmer and Paul-William Mawhinney underplay their roles to great effect.

Perdify
When a door-to-door saleswoman known as the ‘Faith-o-gram’ appears with a cheesy smile, this piece by Gemma Sneddon gets going. Perdify presents a sequence of quip religious views for the ‘consumer’ using doubling of actors to rocket along with very little real ‘meat’ to the script. Shannon Faith as director creates a few memorable moments, however the piece just comes across as an empty comic shell, and could have done without the tacky set.

A Lesson in Hand Holding
I wished this piece would never end. Griffin-Award-winning playwright Mary Rachel Brown’s script is comic gold, even though it bases itself around a simple story about a couple who just can’t get along, but can’t survive without each other – Keith and Narelle. Christopher Hurrell directs with ease the brilliant cast of Nicola Parry and Brendon McDonall, who never let a millisecond slip unmined for laughs. Keith and Narelle’s story is hilarious and touching, and manages to incorporate snow domes, Meatloaf karaoke-style and Robyn Nevin jokes – who could want anything more?

Bordeaux
The premise and situation for this (apparently true) story had me hooked. An intruder bursts in upon a gathering of wine aficionados sampling vintage Bordeaux and finds himself also appreciating the beverages on offer. Keith Aisner’s script has promise and Christine Greenough’s production and cast is convincing. The only thing is Greenough seems to have mistaken nervous tension between characters (and there is a lot of tension) to be an opportunity for massive pauses in the action. By the end of the piece, I was yawning.

Dead Weight
I’m honestly not sure if many people would share my sentiments, but I absolutely loved this piece. US playwright Joseph Talarico’s script initially centres around two idiotic teenage girls, played by Sophie Webb and Liz Haslam, and ends up making huge statements about the state of world affairs and youth’s disturbing indifference to reality. Mark Pritchard’s stamp as director is impressive – as the girls chug down Bacardi Breezers and verbally (hideously) compete with each other, the bombs keep falling, the gun shots get closer and the flares of explosions are blinding. This is in-your-face-stuff, possibly unnerving to a lot of audience members – a stunning achievement within the relative confines of Short and Sweet.

Eva Braun x 4 (The Four Encounters of Eva Braun)
I’m sure this piece is intensely layered, intelligent and profound, but it just annoyed me. Glyn Roberts’ script presents four snapshots from the life of the woman we know as Hitler’s mistress. Director Sime Knezevic has obviously approached the ‘experimental’ script in a similarly abstract way, with snapshots being performed, then read as stage directions after the action is over. The performers put their heart and soul into it, but the piece just comes across as disjointed, puzzling and intensely unsatisfying.

Blindingly Obvious Facts
I am sure that the majority of this program was selected because they are edgy, experimental and do not fit the ‘Short and Sweet mould.’ Blindingly Obvious Facts is no exception. Well-known Victorian playwright Ben Ellis has constructed this verbatim theatre piece around the controversy and online response to the death of peace-activist Rachel Corrie. Soundbytes, projections, uv lighting and grating soundtrack combine for a powerful and unsettling 10 minutes. Another daring inclusion in the program, which defies traditional linear structure, narrative, characters – and leaves those type of plays for dead.

The Chronic Ills of Robert Zimmerman aka Bob Dylan (A Lie)
As soon as this play commenced, I was wondering why we were watching the stage version of the recent Dylan biopic, I’m Not There. Onstage are three ‘Dylans’ each telling their story through song or nostalgia, but the piece soon takes its own track. Benito Di Fonzo’s script almost parodies itself and its subject matter, poking fun, concocting outrageous stories focused on the eccentric muso. Lucinda Gleeson’s production moves at a cracking pace, aided greatly by the guitar soundtrack played live onstage. It’s not mind-blowing theatre, but I found it immensely more enjoyable than the film ‘equivalent.’

Squashed
Jonathan Gavin’s work takes us onto the squash court and into the affair between Edward and Patricia. Christopher Hurrell directs for the second time in this program, this time working with a much more serious, poignant work. The piece is clever enough, but I felt supremely unsatisfied. The script wavers between comedy and drama, the story becomes incredibly clichéd, and the performances from Mary Rachel Brown and Christopher Tomkinson felt too underplayed for me. I felt no connection to either character and the ending was lukewarm.

23 Greatest Moments Of Dave
A fantastic play to end the evening on. UK writer Glyn Cannon’s script is tight (as it would have to be, to include 23 mini-scenes). It’s your typical office situation, with undervalued employees, a boss who can’t remember anyone’s names, one sexy female member of staff carrying a clipboard and an office party with repercussions. Anne-Louise Rentell directs a standout ensemble cast, and Cannon’s work is genuinely innovative. Nevertheless I couldn’t help thinking it would work better as a short film, leaving clunky slide and scene changes behind.