Ponyboy Curtis vs., The Yard

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Trying to write about Chris Goode’s latest Ponyboy Curtis show vs. is like trying to fit a hurricane into a canning jar. The energy, love and freedom on the Yard’s stage is irrevocably alive and unrestrained, and trying to pin this one-of-a-kind butterfly onto a page kills it a little, or a lot. So take this review as a tiny sample of an extravagant banquet that can only be fully experienced directly.

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Punts, Theatre503

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by guest critic Willa O’Brian

Deciding what is best is a tricky thing to do. It’s particularly difficult if you’re trying to do what is best for someone else. How do you know if you’re doing the right thing? Is your aim and end admirable but your means slightly suspect? It’s a constant balancing act and Punts attempts to tackle this fundamental question in myriad ways. Jack is twenty-five and has a learning disability so severe that he lives with his parents and needs constant supervision, or so his mother believes. But it’s difficult growing up under the wing of so protective a maternal eye.

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Manwatching, Royal Court

An anonymous woman frankly monologues about taboo sexual fantasies, abortion, orgasms and what turns her on. It’s honest, personal and as a fellow woman, easy to relate to. But rather than a woman performing the text, Funmbi Omotayo is given the script onstage having never read it before. The experiment to explore the effects of a man delivering a woman’s words on female sexuality has good intentions, but it doesn’t work. Most of the content is common female experience, and there is no primary narrative thread. The reading is often clumsy and flat and with little to look at, the piece lacks much of a dynamic.

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Oh Yes Oh No

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Some questions for women:

Is it ok to want to be fucked?
                                 Does wanting this oppose feminism?
Is it ok to want to be hit in bed?                      Will this man expect that from other women?
Is it ok to fantasise about being raped?               What does this mean if I’ve been raped?

Louise Orwin is asking big questions about female sexuality and desire, but she doesn’t have the answers. There are no definitive answers anyway, just individual experiences. To make Oh Yes Oh No, she interviewed dozens of women around the country and found some disturbing patterns – about 90% of the women she met had been raped. Many of them developed rape fantasies. Women struggled to reconcile their feminism with wanting men to dominate them in bed.

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The Mutant Man, Space Arts Centre

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By guest reviewer Maeve Campbell

Contemporary pop culture is awash with true crime stories: NPR’s Serial, HBO’s The Jinx and Netflix’s Making of a Murder are just a few titles that have recently gripped public imagination. It is therefore not surprising that two plays about the life of Harry Crawford, born Eugenia Falleni in 1875, have been dramatised in the last few years. The Trouble with Harry by Lachlan Philpot played in Melbourne in 2014 and now Christopher Bryant’s The Mutant Man comes to the Space Arts Centre.
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Dark Vanilla Jungle, Theatre N16

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Andrea isn’t very well. In solitary confinement at some sort of secure facility, she has no one to talk to other than those who briefly visit and those who live in her head. It’s likely the audience is the latter, as her monologue reveals the story of a young woman unstoppably desperate to love and be loved. This desperate runs so deep that she conjures a past relationship with a vegetative amputee she encounters in passing at a hospital, and goes on to do Very Bad Things that land her in this facility.

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