#contessa treffone

[dianas-shortgalpal]

I was wrong, Amy. You’re not too much. You’re exactly the right amount. You’re the amount we all should be ‘cause you live and you love like the world hasn’t hurt you. You’re brave and there’s something wrong with all of us for thinking that’s fucked up.

Totally Completely Fine s01e06

[mondieuwordnerd]

I loved Totally Completely Fine, it was a really beautiful, painful show that I would recommend to anyone. I would only flag that it deals with themes of mental health, addiction, trauma and suicide. Despite its tough subject matter it is humanizing and hopeful. It also features a lovely LGBTQIA romance throuh the episodes, that is so wholesome and romantic ❤

[yurigoggles]

GOOD FUCKIN TELEVISION!

What freakin great television!!

I’ve re-spawned! Look, I don’t know how much tears a grown ass person has to cry to get Bitch status, but this week alone I am 100% sure that I have tripled the cap for said status! Seriously, I haven’t cried this much with happiness for years!!! What freakin great television!! I am also 100% sure that there’s going to be a lot of naysayers about this ship but I give zero fucks! If you came…

[movienized-com]

Totally Completely Fine

Totally Completely Fine (Serie 2023) #ThomasinMcKenzie #ContessaTreffone #RowanWitt #BrandonMcClelland #LexieHallett #EdgarVittorino Mehr auf:

Serie Jahr: 2023- (April) Genre: Comedy / Drama Hauptrollen: Thomasin McKenzie, Contessa Treffone, Rowan Witt, Brandon McClelland, Lexie Hallett, Édgar Vittorino, Max Crean, Alan Dukes, Brigid Zengeni, John Noble, James Sweeny, Devon Terrell, Geneviève Lemon, Ruby O’Kelly … Serienbeschreibung: Die Serie folgt Vivian Cunningham, die Menschen hilft, die sich zu nah an den Rand bringen, während…

[shesnake]

Lord of the Flies (2019) dir. Kip Williams, Sydney Theatre Company

Cast: Mia Wasikowska, Eliza Scanlen, Yerin Ha, Nikita Waldron, Contessa Treffone, Mark Paguio, Joseph Althouse, Justin Amankwah, Nyx Calder, Daniel Monks, Rahel Romahn

[chrismbr]

#STC Lord of the Flies. Nigel Williams’ 1996 adaptation of William Golding’s 1954 novel, directed by Kip Williams in trademark ‘bare stage spectacle’ style. A great ensemble cast of huge diversity *play act* the emergence & dominance of toxic masculinity in these schoolboy leaders-of-the-future. Everything is great (especially Contessa Treffone as she fights Mia Wasikowska) and the downward spiral is compelling, but: schoolboys shouting at each other in ALL CAPS all evening gets totally wearing and leaves emotional development high & dry. (at Roselyn Packer Theatre) https://www.instagram.com/p/B1kgyy7Hj7Z/?igshid=qgcxf60xmwan

[skaichat-blog]

https://skaichat.com/contessa-treffone-roasts-sydneys-food-obsession-in-fully-committed/

[brisbanecollection-blog]

The Harp in the South review: No way out, so coping becomes ambition's crown

Mulvany's ultimate triumph lies in preserving Park's ability to weave Shakespearian detachment into a suburb-sized blanket spreading warmth to all her characters; to eschew judgment upon this hotchpotch of people from the grimy houses and grubbier streets of Surry Hills after WWII. Their flaws may be wounds that won't heal, but they seldom turn septic with evil, and they are bandaged with good intentions, strips of kindness, wads of love and, when those qualities are scarce, with resilience. Mulvany has adapted the first two novels, Missus and The Harp in the South, so astutely that they barely feel condensed. The third, Poor Man's Orange, is less successful, to which we shall return. While maintaining the episodic lows and occasional highs of the Darcy family across three generations, the play excavates the hearts of people who know just how mean and narrow their lives are, but who can find no exit signs. Their tragedy is the nexus between this narrowness and their incapacity to express adequately all it engenders. Coping is the zenith of ambition, while leaning on a community as tight as a wet knot. Before the play slinks between the back-alley prostitutes and abortion-hawkers, however, it roars into action in the two-bit town of Trafalgar, where John and Rowena Kilker (Bruce Spence and Heather Mitchell) pour their passion into making babies, one of whom, Margaret (Rose Riley as a girl; later Anita Hegh), falls for Hugh Darcy (Ben O'Toole; later Jack Finsterer). Spence, who plays five roles, effortlessly conjures five eccentrics, and Mitchell is magnificent in unleashing a guarded Irish heart and an unguarded fury that could tame a continent, let alone a household. Trafalgar does have an exit, and Hughie sweeps Margaret off to a Surry Hills he promises is paved with romance and wealth. Between them Mulvany and Williams have charged the production with many moments of heightened theatricality (whether poignant or uproarious), such as the women's chorus weaving flowers into Margaret's bridal veil, the young Margaret and Hughie confronting their older selves and, later, the participation by Margaret and Hughie's younger daughter, Dolour (an engaging Contessa Treffone) in a radio quiz. Among Mulvany's departures from Park are an increased weight in Margaret's unflagging grief over the abduction of her first born, Thady (Joel Bishop), a feistier Dolour, and an emphasis on music that further heightens the theatricality, and imbues Park with faint echoes of James Joyce. Indeed ordinary lives are subtly imbued with the mythic, even in the Darcys' address: 12Plymouth Street. In lockstep with the work's Irish core comes a fierce brand of Catholicism that is as real for the likes of Margaret and Dolour as any tears or dirt; as optional for Hughie as kicking a can down the street. This devoutness breeds an essential tension between chastity and love outside of which lies sexual commerce, with Helen Thompson offering a wildly entertaining Delie Stock, the madam who spreads more largesse among the needy than does the church. Rose Riley beautifully catches a sense of "otherness" implicit in Roie: an ethereality, softness and even poeticism that makes her hover just above the squalor. The character that Mulvany, Williamson and actor Guy Simon have had more difficulty in fully realising is Charlie, and part of the problem lies in Poor Man's Orange seeming excessively condensed, so that Charlie's grief for Roie and his evolving feelings for Dolour are too rushed. In fact just when Park's book is at its most compelling the play begins to drag, with cliches appearing like weeds in the dialogue even as the narrative is wildly accelerating. Similarly David Fleischer's set initially endlessly malleable (allowing Williams to maintain a bustling action) has a more impersonal stasis for the final instalment, just when we needed to zoom in like a close-up in cinema on the heartbreak, guilt and lies. Yet, even as the play loses focus in one regard, Anita Hegh's performance as Margaret intensifies: Hughie's offer to take her through the fun-fair house of horrors all those years ago was a trip that never truly ended. Until October 6. https://www.brisbanetimes.com.au/entertainment/theatre/the-harp-in-the-south-review-no-way-out-so-coping-becomes-ambitions-crown-20180826-h14imx.html?ref=rss&utm_medium=rss&utm_source=rss_feed