cloudstreet review

3 out of 5 stars. One thing I don’t feel ambivalent about is the worth of restaging Australian classics: it’s a crucial means of combating the amnesia that bedevils our culture. We're working hard to be accurate. Likewise, the women in the play are archetypes whose major narrative functions are to create and resolve emotional problems for the male characters. Tim Winton’s funny, sprawling saga is an epic novel of love and acceptance. The house on Cloudstreet, which functions throughout as a central character, is here depicted by three dreary and uncompromising walls in a rusted grey–blue, the outlines of human figures suggesting the shadows of Hiroshima victims as much as Indigenous cave paintings. All rights reserved. But in the case of Tim Winton’s Cloudstreet its Miles Franklin award winning status is clear from the outset. By:

• Cloudstreet, adapted by Nick Enright and Justin Monjo from the novel by Tim Winton, is showing at the Malthouse Theatre in Melbourne, until 16 June, • This article was amended on 14 May to correctly identify the year the Neil Armfield production Cloudstreet premiered, Available for everyone, funded by readers.

Cloudstreet review. (It’s telling that Oriel is invisible to her son Fish.)

* Receiving this title free from Penguin Australia did not impact my ability to express my honest opinions in the review above. The casting also includes three Indigenous actors. Further details on how this site manages data can be found in our Privacy Policy. the Malthouse Theatre in Melbourne, until 16 June. Two rural families – the Pickles and the Lambs – flee to the city after separate catastrophes. The set design (Zoë Atkinson) is the production’s greatest obstacle, one it can’t overcome.

The boosted presence of Indigenous actors throughout is welcome; it isn’t only diverse for diversity’s sake, it deepens and layers the theme of disparate mobs coming together, the house as synecdoche for nation. https://malthousetheatre.com.au/whats-on/cloudstreet. Sometimes I read an award-winning title and wonder what I missed. Alison Whyte’s Oriel is a tour-de-force from go to whoa; harried, stringent and cruelly uncompromising, she manages to turn the character’s intractability into something endlessly revealing, as if she is drawing us further and further into the rooms of Oriel’s soul.

The crippled man does not stir. During the key scene of this play – when Fish and Quick, crouched in a dinghy, enter a spiritual space that is both water and sky – I realised halfway through, with a start, that the entire stage floor was covered ankle-deep with water, a black, depthless expanse throwing light ripples around the stage. The danger is that Aboriginal voices exist merely as incidental emotional motivations for the white (male) characters. All will be able to identify with at least some of the inner struggles faced by the eclectic characters that make Cloudstreet so iconic, even if simply the inability to express their feelings to those closest to them.

Twenty years after its premiere, it feels very much like a period piece. Tim Winton’s novel was the basis for an award winning TV mini-series starring Kerry Fox, Geoff Morrell and Stephen Curry. Natasha Herbert, initially rather one note as the slatternly and gauche Dolly, undergoes a transformation in the third act that is devastating and true, a dam busting over the audience in waves of grief and humanity.

We email our website newsletter to subscribers no more frequently than fortnightly. The original script has been rewritten to emphasise the Indigenous stories through the introduction of more narrated text. This story is, like all Winton’s books, essentially about the men, with its central relationship between Fish and his brother Quick (Guy Simon).

Brenna Harding is the only one from the younger generation who traces a whole life as Rose, even if she has to deal with some major inconsistencies in her character’s motivation. The inclusiveness is more inclusive, but the broad, fat spiritual rain of revelation fails to fall this time around, and I for one miss it. I’m Jo, an Australian book reviewer. Read 1,487 reviews from the world's largest community for readers.

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