Wednesday 15 January 2025

Carriageworks

Modern Convict Films

Review by Paul Neeson (Arts Wednesday)

That would have to have been the most unusual melange to begin a theatrical work I have ever seen.

Brendan Cowell, Ewen Leslie and Toby Schmitz are the writers and performers in a bizarre comedy called Hamlet Camp, performed in the round at an intimate space at Carriageworks. The show also included original choreography from Claudia Haines-Cappeau and original music from Steve Francis (Bangarra Dance Theatre and many others).

To get us in the mood we were presented with an original poem from each of the three writer/actors. Toby Schmitz performed Skip Retail Therapy, a tale of life in an inner west 2nd hand book shop with many references to local institutions such as restaurants and iconic buildings. An exuberant performance, but, oh well, he needed to refer to his notes to complete the performance. 

Next Brendan Cowell spoke – with perfect pace, timing and delivery – of the praises of the storage unit and the shrine-like role they have played in his nomadic career and life. And lastly Ship to Shore from a wonderfully animated Ewen Leslie documenting the triumphs and failures of a long cherished career from child actor to the present.

I’m not sure what was the point of the next piece, Ophelia Dance Piece by Claudia Haines-Cappeau, a florid interpretive dance movement, apart from an interlude to get some chairs onto the stage. The flowing dress I suppose was the clue, and reading the title of the work in the program after the event.

But the main work, Hamlet Camp, made it all worthwhile. Cowell, Schmitz and Leslie are all old mates having known each other through theatrical circles, but have until now never been on the same stage together. Each actor gave us a different dynamic and the blend and rapid interaction meant we never got bored. Each has played Hamlet at some point (or have they?) and the premise of the piece is that they are now in rehab to help them move beyond the joys and disappointments, highs and lows, obsessions and passions of having played the mercurial Danish Prince. Each time they relapse into being Hamlet by mentioning one of the play’s characters’ names, or slipping into lines from the play, they are delivered an electric shock.

They recount the various interpretations of their performances ranging from hip hop Hamlet with Doc Martin boots, mobile phones AND swords, to one actor performing each part to several cameras and screens (with no audience), to an empty and wooden performance that he could have done better if only he wasn’t replaced by the understudy.

An hilarious concept that is delivered with many nods and winks to the theatre world and its ingrained peculiarities. Directors deservedly come in for particular attention and the ridiculous things they ask of the actor. And critics (completely undeserved and beyond reproach of course) get their fair share of being made the butt of jokes. And one can never forget stage hands!

Haines-Cappeau delivers the voice-over of the supervisor who provides the shock therapy treatments in a flawlessly detached but stern and commanding tone and summons the three to their next therapy sessions throughout. She also reappears as the latest ex-Hamlet inmate billed as “Hamlet (She/her)”. The most common place to see pronouns published is for me in theatre programs, and it is comforting to see actors being able to laugh at this foible.

Many laughs, plenty of in-jokes and self-referencing made this production an absolute delight. We left the space with smiles aplenty only to be greeted by the high drama of the most violent electrical storm Sydney has seen in ages. Seemed appropriate somehow.

Season runs at Carriageworks until 25 January.

You can hear a recent interview with Brendan Cowell below: