Priscilla Jackman Press

June 12th, 2019 by admin

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Director – Ensemble Theatre 2019

“Priscilla Jackman directs with energy a strong all-woman cast. Millerchip brings naivety to her central role as Penny. McMahon is a cracker as the feisty, athletic, potty-mouthed Nikki. Bader’s knowing pauses and comic timing as she sheds the chip on her shoulder are a joy.”  Sydney Morning Herald, Joyce Morgan  ★ ★ ★ ★

Director Priscilla Jackman provides ample room for play in her production; during her scene transitions characters dance props into place and share small moments together. These are little capsules of joy, and it’s near-impossible to resist being charmed. She infuses the story with additional, but judicious affection: every character is likeable, even grumpy Bev, and she treats the play’s more serious concerns, like xenophobia and discrimination, with pragmatism.”  TimeOut, Cassie Tongue  ★ ★ ★ ★

“Director Priscilla Jackman imbues the show with extraordinary warmth… featuring five actors in a cohesive and joyful collaboration.”  Suzy Goes See, Suzy Wrong

“Under the skilled direction of Priscilla Jackman, the originality of these Aussie women is grounded and exciting to watch and enjoyable in their recognisability.  Jackman’s pinpoint use of pause is an immeasurable asset to the charming embrace of the production.” Arts Hub, Judith Greenaway  ★ ★ ★ ★ ★

“ Priscilla Jackman directs a bare-bones staging (a Michael Scott-Mitchell design) whose main feature is the arse end of an old ute. Her casting is flawless. Millerchip’s Penny is a winning mix of pep and calculation. McMahon conjures Nikki from equal parts vivaciousness and spite.” Audrey Journal, Jason Blake

“With unfussy direction (Priscilla Jackman) and spare design (the set is by Michael Scott-Mitchell), it’s a total crowd-pleaser, a colloquial Aussie play without a moment of cringe…And Jackman, building an impressive body of work on Sydney stages, who skillfully modulates the broad humour and country clichés.” – Daily Review, Jason Whittaker  ★ ★ ★ ★

“The maturity of the drama is in its measure, with Priscilla Jackman’s direction complementing Tait’s writing…The Appleton Ladies’ Potato Race is a must-see. There are no downsides to this polished, measured, and punchy work that says so much with such style.” The Music, Sean Maroney ★ ★ ★ ★

Writer and Director – Sydney Theatre Company 2018

“Still Point Turning is a fascinating, insightful, tough, moving and surprisingly funny piece of theatre…

…It is cleverly structured and beautifully written, combining direct address with dramatised dialogue and more abstract scenes, which use a choreographed physical language to heighten the situation.” Jo Litson, Daily Telegraph ★ ★ ★ ★

“Jackman’s script is supple and empathetic, eschewing a trans trauma porn narrative for candour and nuance insteadThere is a jewel of a moment in the latter half of the play, when Catherine meets, and is enchanted by, Indian cricketing great Rahul Dravid (Brown)… Catherine is profoundly moved by him – she has never been able to embrace herself quite so fully, but she’s realising that if she doesn’t, she won’t survive. It’s a moment of recognition, realisation, and deep emotion, and Jackman constructs the scene with sincere grace.” Cassie Tongue, TimeOut ★ ★ ★ ★

“The result is a gripping, rollercoaster ride that is intensely theatrical and raises questions about gender roles, misogyny and finding that still centre within our psychic chaos that enables us to stay true to our self. The latter especially gives it a universality

…The play makes a welcome plea for greater understanding. It is an uplifting work that celebrates individual courage and brings one transgender experience out of the shadows. It will bowl you over.”, Joyce Morgan, Sydney Morning Herald ★ ★ ★ ★