Climate change, mining, sex and politics, political parties, border security and refugees – contemporary Australia is put under the spotlight. The show has a real cliffhanger, and two characters and two pasts come into collision.The play becomes a cathartic outburst at all that is wrong, with a stinger that glimpses a way forward. The story is a roller coaster with bite, the characters are too real, and their values are held to account. Australia is not an island, and we cannot escape our moral responsibilities. (Adult theme)
With Ken Welsh (Karl Matters) Befrin Axtjärn (Vania Azadi) and Kloud Milas (Louise Patterson).
Written and directed by Geoffrey Sykes
“Blood on the Wattle” was developed by the author and cast during the 2021 Covid lockdown. It was based on a previous draft, but fresh in dialogue and characters. Befrin Axtjärn’s parents were refugees from Iran, and brings passion, memory and remarkable acting strength to her role as Vania Azadi. Ken Welsh is convincing as the disgruntled middle aged Australian politics, and Kloud Milas is faultless as his ambitious young office staffer. The author feels theatre can refresh debate and language at a time when politics can seem confused and difficult.
Reviews
A worthy play which takes a radical path
A feisty political play
Seismic. Tour de force
(Sydney Arts Guide)
Sykes has chosen an apt topic and timing for his play. As the crisis in Ukraine unfolds, and in the aftermath of the mass exodus of refugees from Afghanistan, now is an excellent time to have another cold hard look at Australia’s asylum seeker policy and past.
A convincing portrayal of a conservative rural party member who has somewhat lost both his way and the direction of his family legacy. Welsh was a welcome energy to the stage, comfortable with his character and ready to take on some of the tougher material.
(Theatre Travels)
Geoff Sykes has done a great job of re-imagining the iconic Henry Lawson theme of Australian rural political conflict into a modern setting, with current issues at the fore. The acting by all three performers is excellent, with each playing their parts with passion and conviction. The staging and arrangement of the set is also well executed.Hopefully, this adventurous play will prompt further moves towards theatre as a comment on current political dilemmas — especially as the arts world begins to recover from the COVID-19 shutdown disaster.There are hopeful signs, as the director notes: “This show is part of a sequence of theatre works seeking to re-imagine Australian identity in the current time.” (Green Left Weekly)
Under Sykes’s direction, all three actors seemed comfortable on stage, giving the performance a relaxed and casual feel. This then served to sharpen the moments of racism, sexism, and trauma retelling featured in their interactions by framing them as mundane. (Night Writes)
What is the gutsiest, most definitively feminine role an actor can play? The foxy Rosalind? The wily-shrewd Kate? The vaginal-nectarine goddess of war Cleopatra? Today, a new contender vies to be THE feminine dramatic role an actor would die for the chance to wrestle-with on the stage.
Like Rosalind, she runs rings around the man she baits. Like Kate, she takes the upper hand to get what turns her on by playing the man who thinks he is pulling the strings. Like Cleopatra, she mesmerises the man into painfully becoming, at least on his defeat, utterly renewed.
Her name: Vania Azadi. The play: BLOOD ON THE WATTLE. The author and producer: Geoffrey Sykes.
Sydney Arts Guide (2)
AUDIENCE
Very moving. Powerful. Super impressed. Had all of the issues of the play rushing around in my head for hours after we returned home and had trouble sleeping. Wonderful stuff.
Premiere performances:
Richard Wherrett Studio, Roslyn Packer Theatre, 22 Hickson Rd, Walsh Bay.
Fri 25 March and Sat 26 March 2022 at 7.30pm
Season: Chippen Theatre
Level One, 45 Chippen Street, Chippendale NSW 2008
Wed to Sat 7.30pm from 30 March to Sat 9 April
Ken Welsh (Karl Matters) Trained with the Arts Council of NSW and Sydney Acting School. Guest roles Sons and Daughters, Home and Away, and Country Practice, and mini series He then moved into guest Colour in the Creek, GP, Murder Call and Always Greener. Over 30 stage productions including Studio 228, Darned Sock Theatre Company and StageWorks. Contemporary works as well as Shakespeare , Chekov, Moliere and Coward. Founding member of Murder by Design (one of Australia’s premier interactive murder mystery companies) in its 20th year. Film supporting roles in Quest for Steel, Risen, The Story of Nadia and Target Fascination
Befrin Axtjärn (Vania Azadi) Studied Creative Storytelling, Meisner Method Acting and Music production under names such as Olle Svalander, Billy Milionis, Cecilia Nordlund, and comedian and producer Sara Andersson. Recently worked on films such as Here Out West (2021) which was nominated for the CinefestOz Film Prize, Opening Night (2022), Triage (2021) and Lucy’s Collar (2021).
Born in Sweden, to Kurdish parents and speaks four languages fluently. She is a singer/songwriter and has performed musically on several stages in both Sweden and Australia. An experienced voice-over artist in both Australia and overseas, having produced, written and performed both on public radio and in web series.
Kloud Milas (Louise Patterson) Kloud has worked on five features including Cop’s Enemy (Amazon Prime) and Akoni (official selection at CinefestOZ Film Festival 2021) and the TV show Growing Up Gracefully (ABC and Stan). She has acted in short films, music videos, campaigns/commercials, and stills. Studied at The Actors Pulse and receives private Chekhov classes. She has a Communications and Media/ Bachelor of Arts (majoring in journalism and advertising). She has worked as an Assistant Director on an upcoming feature film and in various production associate roles.
Geoffrey Sykes (Director and Writer) – Geoffrey is an independent producer, writer and director of theatre and video, over 30 professional productions, as well as ten video works. His work has received numerous positive reviews and feedback, and been performed or screened in four countries and five states of Australia. Theatre venues include Riverside Theatres Sydney, Holden Street Theatre Adelaide, La Mama Melbourne, 107 Redfern, Music Lounge Wollongong, Art Gallery of New South Wales, Museum of Contemporary Art Sydney, Theatre South Wollongong, Illawarra Performing Arts Centre, Powerhouse Museum Sydney, National Gallery of Victoria, James Fairfax Theatre Canberra, Centrul de Cultură “George Apostu” Bacău Romania, Excelsior Centre Thirroul, and Tap Gallery Sydney, Chapel by the Sea Bondi, Inculise Bucharest, National People’s Theatre Sofia and Theatre Bacovia Bacau. Videos have been broadcast on ABC, SBS, Fox and Arts NZ, and widely screened and distributed, in Galleries, public venues and schools.