Stephen Samara
Date Published: Tuesday, 17 January 12
| Author: Stephen Samara
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| 3 weeks, 1 day ago
Beneath The Conspiracy
CAVALERA CONSPIRACY was formed in 2007 when Iggor Cavalera called his brother Max after a ten year period of silence. The split came in 1996 after the murder of Max’s stepson forced him to leave the band the brothers founded, Sepultura. A decade later Iggor parted ways with Sepultura, citing “artistic incompatibility”. The year after, Cavalera Conspiracy was founded and work began on their first studio album, Inflikted (2008).
The musical connection between Max and Iggor was immediately apparent. “When we jammed again it felt like we’d never stopped, like we’ve been playing together forever,” Max explains. “We went back to being brothers again, and we also went back to playing in the same band again. Everything picked up where we left off.”
Their second studio album, Blunt Force Trauma, was released in February last year. It features the same relentless riffing and groove-laden drumming that was in Inflikted, signalling that the Cavalera brothers’ combined musical talent – the one that set Sepultura’s brand of explosive thrash apart from the pretenders – was still intact. Cavalera Conspiracy, completed by Marc Rizzo on lead guitar and Jonny Chow on bass, toured Blunt Force Trauma extensively throughout 2011 to massive critical success. “We toured the whole year and the album really grew on everyone,” Max says. “A lot of songs came out as crowd favourites. I think it was the right decision to make this kind of record, and combined with stuff from Inflikted and a little bit of old Sepultura stuff, it makes for a killer setlist.”
Max Cavalera has been dispelling rumours about a Sepultura reunion for many years, but with Soulfly and Cavalera Conspiracy on his hands he seems less than optimistic about a consolidation. He goes on to say, “We’re not speaking at all. Everybody’s doing their own thing, and we’re all really busy. If it happens it happens, if it doesn’t it doesn’t. I would like to do it for the fans, and that’s the only reason I’d do it: because it would be awesome for some of the fans to get to see Sepultura with the original line-up. I’m pretty happy with my two bands now. I’ve got my plate full so I can’t complain.”
Cavalera Conspiracy are wrapping up the current touring schedule with a final run of shows here in Australia. Max and Iggor have played here together as Sepultura, and Max last toured here with Soulfly back in September 2010. However, this will be the first Cavalera Conspiracy tour of Australia. Max hopes to see a bit more of our country this time around, though. “I do hope to do some sightseeing and see a bit more of Australia if we have the chance,” he says, “I’m not sure how much time we’ll have off but I will definitely have time to see some stuff. Australia is so huge and such a great place to visit.”
Cavalera Conspiracy play at the ANU Bar on Friday January 27 with special guests. Tix are $73.65 + bf. Doors 8pm. You can also catch them at Big Day Out Sydney on Thursday January 26, tickets for which are on sale now.
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Date Published: Tuesday, 14 June 11
| Author: Stephen Samara
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| 7 months, 4 weeks ago
HEADGEAR HEAVEN
Page Hamilton has been a leading figure of the alternative rock scene since HELMET’s inception in 1988. After seven studio albums, a revolving lineup of musicians, a breakup and a reunion seven years ago, Page has kept the unbiased stylistic agenda that made their music famous, but mixed it with his perpetual creative drive to create an ever-evolving band in a scene where others burn out or repeat themselves into a mockery.
Page started Helmet in 1988, and began writing in 1989. He was influenced by a whole range of music over the course of his life which affected the way he thought about and wrote music. “My influences go way back to when I was a kid, when I listened to bands like The Eagles, Led Zeppelin and AC/DC. Then I got into jazz.”
Helmet’s approach to rock and roll has always been off the straight-and-narrow path. At times aggressive, inspiring, anthemic and sincere about the meaning of the lyrics, Page has found a way to connect his experiences to a style of writing that allows him an outsider’s view on his life. “Lyrics are a weird thing. For me I have to sort of step back from things to feel right about them. If you’re in a very emotional place the lyrics will suffer.” Page also says that he’s not writing currently, “because I went through another breakup and it’s still too close.” Although he’s taking a much-needed break, he’s still working with his creative side. “I constantly try to work at it,” he says, “I keep playing guitar and I read a lot of books and I live my life fully and experience things. The creative process is still what drives me.”
The band has been touring on the back of their seventh studio album Seeing Eye Dog, released September last year. They have thankfully kept their unique perspective on rock and roll along with their uncompromising attitude and so-heavy-you’re-likely-to-vomit sound. No joke. People have actually gone the chunder from an overdose of rock. In the time since Seeing Eye Dog was released, they’ve had the opportunity to play their new material to a worldwide audience. “It’s hard to say what the highlight is,” he says, “I’d have to say the shows in Germany and Europe were great. London was amazing. We did Hamburg and Stuttgart, they really stood out, as did Budapest.”
This month, they’re bringing a mix of the old and new on their tour of Australia, and not for the first time. “We’ve enjoyed it every single time we’ve been down there. This is one of our more expensive tours. We’re playing New Zealand and then a tour of the east coast, and then a show in Perth. We’re really looking forward to it.”
You can catch Helmet at ANU Bar on Thursday June 30. Tickets are available through Ticketek, for $55.95 a pop.
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Date Published: Tuesday, 24 May 11
| Author: Stephen Samara
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| 8 months, 2 weeks ago
Sydney thrash band Teratornis have put a lot of effort into their first EP, Back from Extinction. Taking the style and the attitude of the ‘80s thrash metal scene to a 21st century extreme, the four tracks show the formation of a sound akin to its progenitor scene, albeit with a unique (and uniquely Australian) twist.
From the first track Rise From the Tombs, introduced by twin guitar riffage and a Lycanthian opening howl, the four lads are doing it the thrash way, their way. Shredding through to Notomelus and the self-titled track (literally) Teratornis, it's clear to see that they've put hard work into recording and mixing it properly and putting technical elements in that keep the riffs interesting. The music is played at breakneck speed at times, with a big percussion sound keeping it all together.
Not only are the songs great but the feel of the album is upbeat, heavy and enjoyable. There could be no better way of describing this than saying that it gives a shameless nod to the old days, but moves on from where it left off. The band have the potential to progress from this EP and create an even more advanced and more enjoyable sound. Thrash never died – it’s still well and truly alive in bands like Teratornis and their peers in the thrash underground, and that’s where any avid metalhead should cast their eyes, ears and horns.
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Date Published: Tuesday, 17 August 10
| Author: Stephen Samara
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| 1 year, 5 months ago
Max Cavalera is no stranger to the thrash and death metal music spotlight. Thanks to his involvement in bands such as Sepultura, Nailbomb and SOULFLY, over the last 25 years, the Brazilian native has brought the tribal ferocity of his homeland into his music to create a fusion fit for any headbanger better than anyone else of his time.
“My favourite time for music was the late 1980's and early 90's, with the thrash and death metal scenes,” says Cavalera. “There's a lot of energy in that music and that's why I like to play it.” Not surprising Cavalera admits “I also like Brazilian and tribal stuff that started with Roots [Sepultura's 1996 album] and continues with Soulfly. It's a combination of all that. I also like some of the new thrash revival bands like Municipal Waste and Warbringer, because they have that same energy.”
Unlike many others, Sepultura survived the grunge and nu-metal trends in the mid ‘90s, and Cavalera, though no longer with the band, has continued his musical career with Soulfly to this day. “We survived. We're still here. To me that's important because a lot of bands didn't make it, a lot of people broke up and the fact that I came out and Soulfly became successful is a huge thing to me.”
Having toured with the likes of Slayer, In Flames, Black Sabbath, and, most recently, Iron Maiden, Cavalera has had the opportunity to meet and work with some of his heroes. He recalls when Sepultura played with the Ramones in Brazil - “There was between five and ten thousand people there. It was huge. I got to watch this legendary band every night, in my hometown. Sometimes I'd look over to the side of the stage and see them standing there watching us play, and in their leather jackets they looked like they'd come straight from an album cover.”
Musically, Max Cavalera has retained his aggressive riffing and vocals from the Sepultura days and applied them to Soulfly, creating something that evokes both nostalgia and sets the bar high for modern metal bands. “My style of riffing is very similar,” he says. “It's become a little bit more technical since we got Marc [Rizzo] in the band, because he can do some amazing things on the guitar and we take advantage of that. So we have some killer guitar solos.”
Omen, the latest offering from Soulfly is a clear indicator of Cavalera’s musical spectrum. “I’m influenced by a lot of hardcore, and that's evident on the new album. From the very start it's very in your face and hardcore.”
It's been a long four years since Soulfly's last Australian tour, and Cavalera seems keen to be back. “We're really excited. We're ready to deliver. I still play some old Sepultura stuff, but mostly Soulfly stuff. I can't wait to be there to give you all a great night of heavy metal!”
Soulfly will be playing at the ANU Bar on Saturday September 11. Tickets available through Ticketek.
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Date Published: Wednesday, 31 March 10
| Author: Stephen Samara
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| 1 year, 10 months ago
LISA MITCHELL ’s career has been bolstered by her appearance on Australian Idol, making it to the final six before being eliminated, but her album Wonder, released last July, has diverged from the show and given her a new name with a sound to go with it.
“I couldn’t help but bring my own influences into the show,” says Lisa, talking to me on the phone in the stairwell after a show in Manchester. “My time on Australian Idol isn’t relevant, but I’m not sick of it. My life is completely different from that.”
Lisa’s agenda for 2010 includes playing the summer festivals in the United Kingdom, an Australian tour in May, a potential show in New York in April and, in her own words, “lots of travelling and gigs.”
Her debut solo album, Wonder, has received a largely positive response. “From the amount of people coming up to me after shows, it must be going quite well,” she quips.
Lisa states that her influences don’t just come from music. It’s evident that Wonder has a magical folk-esque sheen to it, with some reference to the songwriting and structure of Bob Dylan’s songs. “I’m inspired by a lot of everyday things too,” she says. “Like a perfectly boiled egg on toast.”
At only 19, Lisa is a young achiever in the Australian music scene. Is the recognition and reputation too much to handle for someone her age? “I don’t know what this life is like at any other age,” she replies. It might just be the case that her unique music having such exposure is injecting some fundamentally decent music into the mainstream.
Along the way, Lisa has had the opportunity to work with such artists as Clare Bowditch and, of course, Ben Lee. “Ben is a really lovely and very positive man. We ended up writing a song together but it didn’t go on the album. We’ve done nothing with it,” says Lisa regarding her collaboration with Lee.
Aside from the realm of music, there are elements in her music which give hints to her life, especially elements of the fantastical. “I’m fascinated by fantasy. I loved Spirited Away and Alice In Wonderland.”
In a world where Myspace and Facebook are helping young musicians promote their own music, Lisa’s advice to the budding young songwriters of her generation is thus. “Take your time. You’re not under a ticking time bomb. Everything that happens happens, it’s all about fate. Be open and be positive, but you also have to be careful.”
After three nominations for ARIA Awards within six months of her album coming out and a chart position of six, in addition to a Big Day Out slot and her songs being used in commercials and video games, Lisa Mitchell is destined to achieve her goals in the near future, if they haven’t already been achieved
Catch Lisa Mitchell the Groovin’ The Moo Festival on Sunday May 9 at the University of Canberra. Tickets through Moshtix.
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Date Published: Wednesday, 3 February 10
| Author: Stephen Samara
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| 2 years ago
Templestowe are a band that have superseded expectation and doubt. Formed in 2007, they have gradually taken the huge steps necessary to get the attention that they, as talented musicians, deserve.
October 2009 saw the band release their debut full length album, Cimmerian. “The album has been named in several Top 10 lists for 2009 in the media – most notably by triple j’s ‘The Racket’ program,” says Jon Hocking, the band’s vocalist. “In a worldwide list that included such names as Mastodon, Megadeth and Alice in Chains, Cimmerian took out spot number 10 and was only one of two Australian albums to make the list. For a self-financed, unsigned debut album recorded by the band and mixed in Canberra, we were incredibly humbled by that.”
Indeed, not being signed to a label certainly hasn’t held the lads from Canberra back. In fact, if anything, it’s produced a certain kind of work and musical ethic (if not a productive form of aggression) that is quite evident on the album.
One minor setback in the band’s progression and in the recording process of Cimmerian was the departure of two of their members, including original vocalist Andy. “We had to audition new members and then have them learn and record the new parts which was incredibly time consuming. That being said, the process was incredibly exciting. Being able to hear your songs come to fruition is always a rewarding process.”
Templestowe have been part of the rise in Canberra metal in the last few years, alongside great bands like Aeon of Horus, Alchemist, Infinitum, Kill for Satan and Forgery. “There are a lot of great Canberra metal bands in the scene at the moment,” Jon says. “A lot of the bands are incredibly dedicated to doing things right and as a result we’re seeing a lot of great albums coming out and a lot of bands flourishing outside of Canberra. The reality is Canberra does have quite a large metal following and we’ve seen that at various gigs throughout the last year or two. When you put in the effort to put a strong bill together and give promotion a very hard push, the punters do show up.”
So what does 2010 hold in store for Templestowe? “2010 is basically a year of touring for the band,” Jon says. “In the first half of 2010 we’ll be travelling to Perth, Brisbane and Adelaide as well as to Sydney and Melbourne a number of times. It’s a difficult process, especially since some of these cities we’ve never played before. It’s always hard to reconcile costs versus exposure but it’s something we all believe necessary to further the band.”
With what can only be described as a significant and potent debut release behind them, plus the dedication and blood/sweat/tears philosophy, Canberra can only expect great things from one of their finest metal exports, Templestowe.
Catch Templestowe at the Basement on Friday February 26 with Melbourne’s Humonic and Canberra’s own Tortured and Forgery.
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Date Published: Wednesday, 25 November 09
| Author: Stephen Samara
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| 2 years, 2 months ago
For over 20 years ROTTING CHRIST have spearheaded the Greek extreme metal scene. After nine studio albums (with a tenth on its way) and controversial run-ins with the likes of Dave Mustaine and the Roman Catholic Church, they stand as one hell of an uncompromising band.
Formed in 1987, they quickly changed their sound from grindcore to black metal, which is where the legendary Euronymous, tragically betrayed by Varg of Burzum, comes into the picture. “We were brothers with Euronymous and we were about to release a split LP with Burzum but his murder didn’t allow this,” says vocalist and guitarist Sakis. “Maybe in another life… who knows?”
Their tenth and as yet untitled studio album is likely to be a landmark of 2010. “We have just finished it and everyone that has heard it admits that we’ve stepped up from our previous album Theogonia ,” says Sakis. “It’s actually my goal as an artist to manage to take a step forward artistically and to not copy myself.” And this has shown through their changes stylistically – from raw black metal to extreme gothic metal to melodic black metal and more in between.
Due to their name, the band have been followed by controversies everywhere they go. That being said, they have also become proud fighters in ‘resistance to the system,’ a system that, in 1980s Greece, was founded on religious fundamentalism from the Roman Catholic church. The band make the bold statement that “this is METAL… a punch to any conservative idea!” and if that’s not an anthem for the masses, then what is?
Aside from writing and recording the new album, they’ve had their first appearance in a video game, namely Brutal Legend . Their song Ad Noctis appears in the in-game soundtrack, along with 106 other heavy metal songs. “We’re proud that the biggest video game company in the world chose one of our songs,” Sakis says. “As long as people open their minds and start to believe that metal music is more than something listened to by freaks.”
Over the years their lyrical themes and musical influences have progressed with each new album. Sakis insists that “we used to be rebels without reason, but now we’re rebels WITH a reason. We are getting more mature but we’re still reactionists!” Screamfest will be Rotting Christ’s first show in Australia. The band proudly declare that they look forward to spreading Lucifer over Australia, and that Aussie fans should “KEEP THE DARK CULT ALIVE.” Horns up people!
Rotting Christ are part of the uber-ly br00tal lineup at Screamfest, held at Sydney’s Enmore Theatre over Thursday December 31 and Friday January 1. Tickets through Ticketek.
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Date Published: Tuesday, 24 November 09
| Author: Stephen Samara
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| 2 years, 2 months ago
DESTRÖYER 666 have been unashamedly raping the music scene for 15 years with their innovative concoction of black, death and thrash metal. Six years on from theTerror Abraxas EP, and spanning the distance between three countries, the lads have unleashed their fourth full-length album Defiance upon the metal world. “After the release of Cold Steel and Terror Abraxas , we have been busy with touring and playing an excessive amount of shows and festivals in 2002-2004. Due to the fact that we live in different countries, it was tricky for us to get back together and rehearse properly and we decided to take a longer break,” says drummer Mersus. “After the tour with our Canadian comrades Revenge in 2006, the fans and maniacs showed us that we simply had to go on.” But getting the morning star swinging again isn’t as easy as it sounds, considering that K.K. Warslut (vocalist and guitarist) lives in Holland, guitarist Shrapnel and bassist Matt both live in London and Mersus lives in Germany. “Living in different countries means a lot of money goes out on simply rehearsing, and before every show we have to pay out money on three international flights to rehearse just to do the show,” states K.K. “So yes, it’s a pain in the arse. But regardless of these hindrances, if you love what you do or are addicted to what you do, then you simply stop whinging, bite the bullet and get the job done.” Despite their absence from Australian soil for the past five years, it’s more than obvious that they still feel connected to our fine Southern land. They were born here, grew up here and still have many friends and relatives here. But according to K.K., “it’s just another Western experiment failing miserably.” Since the release of Defiance , Deströyer 666 have played in Brazil, Mexico, the US and Canada, and they are now preparing to play eight shows around Australia. Also in the works is a reissue of Cold Steel for an Iron Age on LP and CD, due to the apparently terrible layout of the original. Deströyer 666 is the epitome of band cohesion in the metal scene and they continually and consistently work together to draw inspiration from each other. “There are many different ways and sources of inspiration, but for us it works best to work together as a band and bring different ideas together,” says Mersus. “As we are all very strong individuals, we can shout as loud as each other, but at the end of the day we are all pushing in the same direction.” What does the future hold in store for the band? “I’ve spent the last 12 years singing about the doom that awaits the world. It would be pretentious and presumptuous to assume any different for a band that exists within that world.” Canberran metal fans will have to make the trek to Sydney to see Deströyer 666 in action at the Metro on Friday January 15. Tickets through www.metrotheatre.com.au . |
Date Published: Wednesday, 4 November 09
| Author: Stephen Samara
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| 2 years, 3 months ago
Marduk seem to remain faithful to character-istics of black metal while progressing their own style within the genre. Their last effort, Rom 5:12, showed signs of ever-growing maturity - such as the jazz beats of Imago Mortis - and it seems that this new direction hasn't slowed down one little bit. What strikes me as worthy of noting is Marduk's developed structure and production quality. With each new album, the drums get tighter, the guitars get cleaner and more defined and Mortuus' vocals get more and more filled with hate and torment. Some will say legendary, others will dismiss it as 'norsecore'... but whatever your opinion, Marduk will never falter in their quest for black metal supremacy.
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Date Published: Wednesday, 4 November 09
| Author: Stephen Samara
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| 2 years, 3 months ago
Wil Anderson is kicking off his latest tour, Wilosophy in Canberra this month. He talked to Exhibitionist about life, the universe and everything...
Friendly Fire is set to hit the shelves next month, and Wil went about writing it the same way he did with his last book, Survival of the Dumbest. "It was a compilation of writing I did for the Sunday Magazine. I give the publishers all this writing I have from my columns and other stuff, and it goes to the editor at Random House who makes it into a really cool book. Everyone goes 'Wow, you wrote an excellent book', but I really did the equivalent of providing the mystery box on Master Chef - I provided the ingredients and someone took it away and turned it into a delicious award winning meal. And then a fat guy with a cravat judges it."
Over the years, Anderson has had the opportunity to work with some of the biggest names in comedy, including the two people who influenced him to start a career in comedy. "My two favourite TV shows were Ted Robinson's The Big Gig and the Andrew Denton's Money Or The Gun. I never imagined that I'd be working with them on The Glass House and The Gruen Transfer. They were the two shows that made me love comedy but it took another 6 or so years to ever have the courage to try it."
Recently, Wil has performed in the U.S.A., an environment where socio-political tensions run high. "I think as an external voice, I have a lot more leeway over there. If people are going to come out, pay money and sit in a room to see what you have to say, then you might as well have something to say."
Anderson has something to say about the state of the media. "There's a new conservatism in the media at the moment. Everyone wants to make everything a scandal; every day there's someone getting in trouble for a joke. It'll get to the point where electrical companies will complain about people making jokes about changing light bulbs, and animal rights activists will ask why we're discriminating against chickens with ridiculous motives to cross roads. Nothing is taboo, my material isn't necessarily offensive, but some people will be offended by it. I don't care that I offend people, but I care that I can back up my points when I'm confronted about them."
In Wilosophy, a recurring theme is politics. "When I first got into comedy, Howard was P.M. and I worked jokes out of that. It was important to me when Rudd came in that I found some jokes to make about him. You always make fun of who's in charge, but it's hard to make fun of someone who just gave everyone $900."
See Wil Anderson's Wilosophy at the Canberra Theatre from Thursday 29 to Saturday 31 October.
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Date Published: Wednesday, 28 October 09
| Author: Stephen Samara
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| 2 years, 3 months ago
50 LIONS have the talent, the vision and the balls to make it in the hardcore scene, not just in Australia but internationally as well. They have escaped the bonds of metalcore and have become an entirely unique band. They are set to team up with Trapped Under Ice for the upcoming Where Life Expires tour, and they're surely going to make some waves.
"We're a hardcore band and always have been. In saying that, we aren't trying to segregate ourselves at all. We play similar venues to metalcore bands - we play alongside them." It seems that there is a substantial dichotomy between modern hardcore and metalcore, a different kind of mentality that separates the two genres but also illuminates their similarities. "Hardcore is more based around energy and interaction with the crowd rather than playing on a massive stage with a barricade and matching stage moves and stage props."
50 Lions is a lucky name for a lucky bunch of guys. They took the name from a poker machine they would regularly win on and the luck carried over to the band when they released their first self-titled demo, which sold out in under three months. They've also shared the stage with some of their biggest influences, including Terror and Madball. "It's always good to play with awesome bands, especially older bands and ones that have influenced your music. You learn a lot from them by watching them live and how they play and carry themselves. You also find that they're not superheroes, they're usually just down to earth people who have put in a lot of time and effort to get where they're at."
Aside from breaking away from the current hardcore trends, they also diverge from the slew of MySpace-orientated bands that have popped up in the last few years. "MySpace can only take you so far as a band. You may have a million friends and plays but if you can't get kids to your shows and sell records, then it seems to be missing the real point. Personally I think we're at the place we are right now from hard work and a good work ethic when it comes to touring and putting out new material on a regular basis so kids don't get bored of us."
After the national tour, they're taking a month off and then heading out to the highway on the Boys of Summer tour, then doing a few shows in southeast Asia. "In general we're going to be on the road a lot more and trying to tour more on an international level as well."
What do the Byron Bay boys have to say about Canberra? "Canberra has always been a town that we need to play more and missed on a lot of tours. These days there is a lot of cool bands coming out of Canberra, some good venues and people working hard to make it what it is today. 'Support your local bands and shows' is the only real thing that needs to be said."
50 Lions and Trapped Under Ice (USA) will play the Tuggeranong Youth Centre on Sunday November 8. Tickets through Moshtix.
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Date Published: Wednesday, 16 September 09
| Author: Stephen Samara
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| 2 years, 4 months ago
It's been a big year for the Canberra Repertory Society, and it's about to get bigger with their new production of Christopher Hampton's Les Liaisons Dangereuses, directed by the formidable Duncan Driver.
"It's the most dramatic and challenging script," says Driver. "His dialogue and pacing of the scenes shows a playwright who has a brilliant conception of what works on stage."
The play is set shortly before the French Revolution, in a society run by and for the decadent. It tells the tale of the Marquise de Mertuil and Vicomte de Valmont, two aristocratic rivals engaged in a cruel game of humiliation, sex and - ultimately - revenge.
Driver seems confident that the show is going to wow the Canberran audience. "The audience can expect lots of stuff - drama, tragedy, comedy, action, a gripping and intense swordfight, male and female nudity, some beautiful classical and early romantic music, sumptuous costumes, a gorgeous set...and lots of plot twists and turns that will keep people interested right to the end of the play."
Rep's Theatre 3 will be home to a truly unique set, with a real tree at the back of the stage (donated generously by the ANU), and some detailed set pieces. "It's not a box set if you know what I mean. It's a very spacious set...the theatre stage is enormous and we tried to take advantage of the depth and width as much as possible," Driver says.
The cast has been picked from some of Canberra's finest actors, including Duncan Ley, who co-founded Everyman Theatre with Driver. "I had an enormous number of people to choose from - two full days worth of auditions blacked out in the diary. It's a matter of undertaking lots and lots of people, and it's not an easy job to turn some of those people down when you have a great wealth of actors to draw a selection from. Hampton wrote the character dialogue so well that it does a lot of the work for the actors." Also stepping out are acclaimed Canberra actresses Hannah Ley and Lexi Sekuless, last seen in Papermoon's Medea.
Driver sees Les Liaisons Dangereuses as very relevant to today's society. "You can see it as a historical artifact, one that details a society that is crumbling because of its own decadence. And that's relevant to a lot of times, especially the 1980s when the play came out. It's really relevant to this time as well because a lot of people are greedy and spiteful."
Out of the four plays that Driver could have chosen from to direct this season, he chose Les Liaisons Dangereuses for its intriguing plot, and brilliantly witty dialogue. Says the director: "I think it's the best play."
Les Liaisons Dangereuses plays at Theatre 3 until October 3. Performances 8pm Thursday - Saturday, Sat matinees @ 2pm, Sunday twilights @ 5pm. Tix $35/$37. Call 62571950 for details and to book.
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Pick yer poison.
 
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