Tangled Web Theatre are delighted to be presenting it in its original form to Melbourne theatre audiences.
Operating as usual
Our director of Streetcar Paul Wanis is launching this very important work in March 2022. We would love you to come and support this very special play!
Hartwell Players and Encore Theatre proudly present: Tribes. Billy’s English family is its own tiny empire: private languages, in-jokes and fiery arguments. Billy, deaf since birth, is the only one who truly listens. When he meets his girlfriend Sylvia, he is introduced to a larger Deaf community,...
4 shows left! Tonight there are a few tickets left and we have been getting plenty of walk ins. Saturday night there are only 3 tickets left! Saturday and Sunday matinees is selling very fast. Don't miss this STREETCAR!
CHARITY NIGHT TONIGHT!. In a touching initiative, the AVID & Tangled Web Productions has organised for $10 of every ticket purchased for Thursday 21stNovember to be donated to Domestic Violence Victoria by the company ‘Bake Me Up’. Make sure you book in to see A Streetcar Named Desire before it drives off!
It's Here! Tickets from Northcote Town Hall Box Office OR Website...come join the Streetcar!
Only 5 sleeps to go before the Streetcar arrives....get your tickets NOW!
Tickets: http://www.northcotetownhall.com.au
THE CAST OF STREETCAR: Jonny Kinnear AS Steve Hubbell
Born in Northern Ireland, U.K., Jonny Kinnear attended Portora Royal School where the rich heritage of writer alumni include playwright Oscar Wilde and Nobel prize winner Samuel Beckett. From there, Jonny studied Drama a Queen’s University, Belfast before embarking on a move to Australia July in 2008. In Brisbane, Jonny undertook schooling in Performance Studies at Q.U.T. "Freedom To Submit" found Jonny making his debut on to the indie Melbourne stage in July 2014. In 2017/18, Jonny performed as Captain Wentworth in a stage adaptation of Jane Austen's "Persuasion" performing at the Melbourne Fringe Festival and the Jane Austen Festival, Canberra. Jonny graduated from 16th Street Actor's Studio, Melbourne in June 2019.
Photos from Avid Theatre's post
Photos from Avid Theatre's post
THE CAST OF STREETCAR: Natalie McFall AS Eunice
Natalie is an actor and also a secondary school teacher of drama. She recently completed Actors Studio and Advanced Actors studio with Victorian College of the Arts (2016-2017) and furthered her training with Improvisation Melbourne, PEM method and TAFTA (2018-2019). She completed a Bachelor of Contemporary Arts, majoring in drama at Deakin University (2000-2002) and a full time certificate of musical theatre with Dance Factory (1996). Her recent theatre credits (2019) include playing Lady Capulet in Romeo and Juliet with GJ productions and playing a Can Can dancer in Impro Melbourne’s latest show Nothing Toulouse. Earlier credits include touring Japan and Malaysia as a dancer with Kim Michaels productions (1997-1998), acting the role of an aristocrat in Manon Lescaut with Opera Australia (1998) and touring secondary schools in a theatre in education production about gambling. Natalie has also received a risk taking award for her solo performance in the show Placement as part of the Melbourne Fringe Festival (2003).
6 weeks till the STREETCAR arrives!
The Cast of STREETCAR: Lochie Laffin Vines
A passionate actor, Lochie has been performing since he was young and has now appeared in over 20 productions. He recently tackled the role of Chris Keller in All My sons (Warrandyte Theatre), was part of the ensemble in the White Night Immersive show ALONE EXPERIENCE, stretched his comedy chops as Snout in A Midsummer's Night Dream (GJ Production) and convincingly portrayed Cecily Cardew in an All-Male production of The Importance of Being Earnest (Boutique Theatre) Lochie has trained extensively with The Australian Film and Television Academy and with ZenZenZo Physical theatre, but always finds time to indulge his passion for theatre. His dream role is to be Hamlet at the Globe Theatre one day. You may have also seen his face on the big screen as part of the TAC ad Heavenly Gates that appeared at 2018 Melbourne International Film Festival. Lochie is always looking for his next role to sink his teeth into and is excited to play the role of Pablo.
‘A Streetcar Named Desire’ Was a First Stop for Many Top Stars
Variety declared “A Streetcar Named Desire,” which opened Dec. 3, 1947, “a smash success.” That was an understatement. The Tennessee Williams play became a hit on Broadway, on the road, and in its …
6 and a half weeks before the STREETCAR arrives. BOOK YOUR TICKETS!
https://sa2.seatadvisor.com/sabo/servlets/TicketRequest?&presenter=AUDAREBINAEC&event=ASNDTW19&tck=true
THE CAST OF A STREETCAR NAMED DESIRE: Kelly Ryan AS The Nurse / The Street Vendors
Kelly Ryan graduated from Charles Sturt University's full time acting program where she honed her skills for both the screen and stage. Her passion has taken her all the around the world from the US to Canada and eventually returning home to Australia this year. Kelly's theatre credits include Measure for Measure, 4.48 Psychosis, Steven Berkoff's Agamemnon & Human Geography. Recently she has appeared in the independent film Forever which is having a successful festival season.
15 Facts About Tennessee Williams's A Streetcar Named Desire
"Stella! Hey, Stella!"
THE CAST OF A STREETCAR NAMED DESIRE: Tim Williams AS The Sailor / The Young Collector
Tim Williams is an actor based in Melbourne, VIC. Recently returning from New York after studying at the Atlantic Acting School, he has also graduated from a full time screen acting course, a Diploma of Screen and Media and continues to study at the Melbourne Actor's Lab where he has been for almost four years. He is fully committed to the craft of acting whilst working hard to produce and direct his own projects.
Tickets Selling Fast: A Streetcar Named Desire http://www.northcotetownhall.com.au/Page/page.asp?Page_Id=1836&h=0
GET YOUR TICKETS NOW! http://www.northcotetownhall.com.au/Page/page.asp?Page_Id=1836&h=0
Tickets ON SALE Monday. A strictly limited season November 2019.
We are so excited to start rehearsals tonight of A Streetcar Named Desire with this amazingly talented cast!!
We blocked the two biggest scenes: the opening and the ending!
Had a great time and can't wait to block the next scenes on Wednesday! — with Paul Wanis, Alexandria Avery, Bruce Hardie, Clarè Hajkowski, Jonny Kinnear, Natalie Mcfall, Kelly Ryan, John Robert Sperring, Lochie Laffin Vines, Gloria Cheptoo, Tim Williams and Michael Fenemore.
Auditions TONIGHT! Exciting times at AVID / Tangled Web Theatre Productions
Tangled Web Theatre Productions - Official Announcement: Meet A Streetcar Named Desire’s director Paul Wanis. Paul has just finished a successful season directing Tennessee Williams' The Frosted Glass Coffin on the Community Theatre One Act Play circuit. His love for Tennessee Williams has him very excited to direct A Streetcar Named Desire. An experienced actor across both stage and film, Paul has performed the lead roles in a number of plays recently with 1812 (Gulls), The Basin Theatre (Murder By Natural Causes), Peridot (Rumours) and Hartwell Players (Love/Sick and I,Cockroach). His focus is now on delivering a memorable version of Tennessee Williams' Iconic classic.
Actors Required - A Streetcar Named Desire - Tennessee Williams - Northcote
Actors - Multiple roles - Victoria, Australia
AVID Theatre and Tangled Web Theatre are proud to announce our 2019 project Tennessee Williams's Pulitzer Prize-winning 1947 play A Streetcar Named Desire.
Eames Replica Premium Lounge Chair and Ottoman Black/Oak | eBay
The pair moved to California during the 1940s, and contributed to the war effort with their practical moulded plywood creations, before beginning production in earnest in 1946. Ottoman: 66cm W x 45cm H x 53cm. | eBay!
Betrayal Theatrecraft Review
Reviewed by Alan Dilnot – November 16, 2017
Theatrecraft published by The Victorian Drama League. (December 2017—Page 22)
In this production of Pinter’s Betrayal we were given a simple set, with one area down-stage to serve as a restaurant or café or pub, and another area curtained off, supposedly functioning as a kitchen or reception room. The downstage area hosted converse within homes. Dominating up-stage, although often in half-light, was a double bed, used only once as such but present to the minds of the audience and to the three main actors as the scene for the central betrayal, never to be forgotten. Insofar as Pinter’s stage directions do not call for the bed to be in place throughout, this was a directorial decision and to be commended as such.
The ordering of the scenes of the play is unusual and as demanded by Pinter. They are neither in chronological order nor exactly in reverse chronology. Necessarily, the late-in-time scenes coming first enabled us to view the beginnings of the relationship between the three main characters in quite a different way. The first-in-time scene shows the beginning of the adulterous relationship between Emma and Jerry, actually in the marital bedroom of Emma and Robert, and taking place while a party is going on in the next room. This arrangement of the scenes forces us to question the assertions and the assumptions that we are invited to rely on in Scene 1, when the affair is over, and Emma and Jerry are meeting again after two years have passed. It makes us question their reliability as witnesses and increases our perception that they are deceivers and self-deceivers. Their relationship was once, they had thought, a shared and deep passionate love; now each wonders if there is anything that can be dwelt upon as a valued memory.
In such a play actors have to be able to maintain a front in conversation, and behind that front to keep their thoughts concealed from each other while at the same time allowing the audience to enter their thinking. It is a difficult task, but these three actors managed it. Eleni Miller as Emma had perfect control over her features. There are stretches in the play when one could regard her as a victim, a woman who weakly succumbs to the romantic flattery offered her by Jerry. Yet plenty of evidence emerges that she has run the romance to feed her own ego, and that she is in a stronger position in 1977 and has more self-esteem than when she was newly-married in 1968. Eleni was able to be soft and pliant and, equally, firm and even ruthless.
Jerry could be regarded as completely self-duplicitous, wishing to be both a romantic lover and a solid family man. Outright pure selfishness, however, will never succeed, and Tim Constantine expertly purveyed considerable charm and a kind of innocence that made him blind to his own arrogance and insensitivity.
Both Jerry and Emma invested something in their love nest, Jerry putting up the rent money and Emma buying table cloths and so on to try to make the place a home. In a sense, both were performing a charade, an interlude away from the centres of their lives, and Eleni and Tim were able to convey this degree of inauthenticity in their relationship.
Emma’s husband, Robert, played by Michael Fenemore, showed more character development than the other two. In the second scene (his first) he wore heavy black-rimmed glasses, and these constituted an extra mask to obscure his features. Without his glasses, in the later (i.e. earlier) scenes, he seemed more candid and more in command. His part in the great scene with Emma in the hotel bedroom in Venice was superbly paced, as he digested Emma’s revelation that she and Jerry had been lovers for five years. Robert was more self-aware than the other two, more analytical and more perceptive, and more alert to the feelings of others, though that did not make him more compassionate.
There were very strong suggestions that Robert and Jerry were as interested in each other as they were in Emma, and this helped to explain that while they were extremely competitive they never came to blows, even after Jerry’s betrayal of Robert became patently clear.
This was not because Robert was incapable of violence, for by his own account he had more than once hit Emma. Thus both Tim and
Michael were able to hint at the complex sexuality so common in
Pinter’s men, while Eleni had something of the predatory goddess figure that occurs amongst Pinter’s women.
A fourth character, a waiter, was nicely played by Matthew Laurence. Strictly speaking the play doesn’t need the waiter in Scene 7, but in addition to supplying some comic relief the waiter brought out some character traits in Robert and Jerry.
In earlier plays Pinter often left an unresolved mystery to perplex the audience. This is not the case in Betrayal, because each scene strips another cover off the motivations of the central characters. Nevertheless, there are some mysteries at the margin of the play. Three important characters—Casey, Judith and Spinks— never appear. Jerry’s wife Judith almost certainly knows about Jerry’s affair. Why does she not react—is she having an affair of her own? Robert and Jerry are both absorbed by the writer Casey. Is
Emma also more than interested in him? And Spinks too? The central trio made us speculate on these possibilities.
Pinter is famous for inserting pauses into his dialogue. Here the device was used sparingly, and in my view the pace of the action, and the ability of each member of the cast to emphasise exactly the right word in a speech was exemplary.
The set was simple but eloquent, and the costumes were adapted to the changing periods. Pinter is not ‘done’ in Melbourne as often as one would wish, and we are lucky to have had a firstclass production of Betrayal, with first-class actors.
Congrats to Russell Servis for Best Sound nomination and great operation for The Mercy Seat by Chris Collins at last nights Victorian Drama League awards. A well deserved nod to a very talented pair of men!
Betrayal - Theatrepeople
Established in 2014, Tangled Web Theatre Productions is a new and exciting, independent performing arts group. As stated on the organisation’s website, their primary aim ...
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