Month: January 2014

Performances, Review, Theatre, Whats On January 30, 2014February 1, 2014

REVIEW: La Mama Presents THE GREAT GAME

Tragicomedy when Victorian poetry meets the Pussycat Dolls

By Rachel Holkner

The Great Game opens with two spinster sisters trying to establish the correct quality and volume of grief suitable to mark the passing of their “dear papa”. Their rigid social expectations dictate that they sip sherry and wait for callers. None arrive. They venture then into the mysterious room that is their father’s study in order to sort his papers. What follows is an amusing exploration of Victorian social mores with scattered commentary on modern values.

Georgiana and Elizabeth, living an isolated life on a large property somewhere in Australia, seek comfort from their situation by reverting at first into childhood games and then into more animalistic behaviours. Directed by Rosina Gannon, the superb physicality of the actors (Charlie Laidlaw and Katherine Connolly) leads most of the humour in these scenes.

Using music and out-of-character references to technology, the play explores both the strict Victorian codes of conduct expected of the women and their desires to find identity of their own. What would a Victorian lady make of a Facebook profile? Why shouldn’t she let her hair down and fling it around to the sounds of the Pussycat Dolls? This is a play of contrasts in storytelling styles and subject matter.

By reciting things by rote – long-ago received letters, poetry and Bible verses, by acting out a part, by playing with items from around the study the grown-up sisters explore aspects of themselves that have been long repressed.

The appearance of a dashing character (Bernard Caleo) found in old papers of their father’s adds another layer of dramatic storytelling emphasising a life out there that is not for them. Exotic lands of mystery, dangerous treks, and conversations with foreigners all contribute to the tragicomedy of Georgiana and Elizabeth’s life.

The Great Game is tremendous fun. The three actors do a marvellous job, covering the small stage with their fantasies. I look forward to seeing further works by Laidlaw and Connolly.

Venue: La Mama Courthouse, 349 Drummond Street, Carlton

Dates: JANUARY 29 – FEBRUARY 16, Wed and Sun 6.30pm Thur to Sat 7.30pm

Bookings: http://lamama.com.au/summer-2014/the-great-game/ or 03 9347 6142

Events, Performances, Review, Theatre, Whats On January 26, 2014

REVIEW: Standing On Ceremony – The Gay Marriage Plays

Talented team in this topical theatrical anthology

By Myron My

Standing On Ceremony consists of nine short plays by well-known Broadway writers dealing with the theme of gay marriage. There are therefore some great writers, plus the fine directors and a talented ensemble cast involved in this production, so expectations were set high to begin with.

Unfortunately I walked out feeling somewhat disappointed, and it’s not through the acting or the directing, but the plays that were originally chosen for this work. For example, The Revision by Jordan Harrison has two men writing their wedding vows whereas José Rivera’s Andrew and Pablo at the Alter of Words has two men exchanging their wedding vows. Whilst both pieces are good, they are indicative of the strong sense of déjà vu I felt running throughout the night when thematic possibilities seemed to become recurring characters or storylines.

That said, Doug Wright’s On Facebook comes together really well, and Neil LaBute’s Strange Fruit is particularly impressive. Both stories are both unique and inherently interesting, and Spencer McLaren and Brett Whittingham’s performances in the latter are understated and honest, captured by that wonderful palpable silence in the final moments. However, among the excellent cast of actors, it is Michael Veitch who delivers the strongest performance of the night as the man mourning the loss of his longtime lover in Moisés Kaufman’s moving London Mosquitos.

In this production, the musical interludes between plays by David Ellis, Laura Burzcott and Karl Lewis are a nice touch and do well in setting the scene before the next story begins. It feels like they are part of the overall work and blend in seamlessly. Similarly, the elegant set design consists of a number of white boxes stacked up on top of each other in a tetris-like formation and having the backdrop projected onto them. With nine stories, this simply yet effectively set the scene for each one.

I couldn’t help wishing for more variety in the collection as the similarities between many of the stories and characters did not seem to express the wealth and complexity of possibilities, but Standing On Ceremony: The Gay Marriage Plays delivers what it’s title proclaims, this is an admirable production of it, and the proceeds go to Australian Marriage Equality.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran

Season: Until 9 February | Tues-Fri 8:00pm, Wed 2:00pm, Sat 5:00pm and 9:00pm, Sun 5:00pm

Tickets: $45.50 Full | $39.50 Conc

Bookings: www.standingonceremony.com.au, www.midsumma.org.au, 9415 9819 or www.chapeloffchapel.com.au, 8290 7000

Festivals, Performances, Review, Theatre, Whats On January 26, 2014

REVIEW: Midsumma Festival’s THIRD REICH MOMMIE

Disturbingly funny

By Narelle Wood

With a title like Third Reich Mommie, I knew this performance was either going to be good, bad or completely bizarre; it was all three and didn’t disappoint. The storyline centres on the dysfunctional relationship between an ex-actress turned spy turned agoraphobic mother Bridgette (Christopher Bryant) and at-times sweet and at other times homicidal daughter, Cassidy (Trelawney Edgar).

Caught in the middle of the neurosis is a sexually confused and charged boy, Jock (Nathan Burmeister), who’s captured the attention of mother and daughter, and the gestapo-esque housekeeper, Ada (Ashleigh Goodson) who juxtaposes her caring nature and sugary singing voice with random bouts of shouting in German.

The plot was initially hard to follow as it twists and turns in such a way that you know someone is up to something, but you’re not exactly sure what is afoot right up until the end when Bridgette Van Kamp’s sordid past and Cassidy’s ‘shining’ future is revealed.

The humour is, for the most part, completely inappropriate but also indiscriminate, targeting Jews, Nazis, homosexuals, Germans, mothers, fathers, and children, and the cast make no apology for this in their performance. Christopher Bryant’s physicality as well as his timing resulted in him delivering some of the show’s most controversial lines, jokes about incinerators and death camps, with comedic flair.

Daniel Lammin, the director, had warned us of some late changes due to unforeseen technical difficulties; the only thing I noticed was how smooth the lighting, scene and sound transitions were given the small number of people in the performance group. It was at times hard to hear, partly because of the acoustics of such a large room, partly the competing noise from the rest of the convent and partly the German accents.

For me Ashleigh Goodson stole the show, which was no mean feat given the strength of the other performers and the seemingly superfluous role that her character played. However it was Ada, and in turn Goodson’s portrayal of the character, that enabled me to slowly put together what appeared to be random schizophrenic conversations.

With good acting, bad characters and a completely bizarre storyline, it is definitely worth keeping an eye out for any future runs of Third Reich Mommie.

Venue: Abbotsford Convent, Rosina Auditorium CBD

Season: 16 – 25th January 2014

Cabaret, Cabaret Review, Festivals, Whats On January 23, 2014January 23, 2014

REVIEW: Drew Downing is REBEL

Gay icons, Hollywood heroes and rock-star charm

By Myron My

Drew Downing returns to The Butterfly Club as part of this year’s Midsumma Festival with his new cabaret show Rebel. Our eponymous rock star recounts his life growing up homosexual in the 60s, the era of ‘don’t ask, don’t tell’.

Despite being the preview performance, Downing was very relaxed, confident and charming on stage. His quips and interaction with the audience, although not a common occurrence, are used effectively in creating an intimate environment for him to share his stories. He remains committed to his character and is highly convincing as Rebel.

I was also very impressed by Downing’s voice and the original songs he performed. Supported by his three-man band (and at one point, jumping on a piano himself), his songs show an intimacy and poignant emotional level that is not often seen or heard. It is evident a lot of time went into perfecting the lyrics, especially with the ballads. Downing does not overplay this emotion but rather, remains very true to it.

However, I feel the narrative in Rebel gets lost at times, with one too many sub-plots preventing us really getting into the nuts and bolts of the story. The show sells itself as an expose of the character’s love affairs with classic screen stars Rock Hudson and James Dean, yet he does little more than gossip about his one-night stands and then moves on to other stories, giving the impression that interactions with these momentous gay icons have had no actual effect on him.

That said, the subsequent contrast of his stories revolving around his relationship with his closeted Uncle Randy and family back home work well in subtly exploring the ignorance and intolerance of that era when it came to homosexuality.

Downing’s acting, stage presence and most importantly, rock-star voice make Rebel well worth seeing, and I will be keen to see what he comes up with next.

Venue: The Butterfly Club, 256 Collins St (entry via Carson Place), CBD

Season: Until 26 January 9:00pm, Sun 8:00pm.

Tickets: $28 Full | $25 Conc

Bookings: http://www.thebutterflyclub.com

Events, Performances, Review, Theatre, Whats On January 19, 2014January 19, 2014

REVIEW: Shakespeare in the Gardens with MIDSUMMER NIGHT’S DREAM

Lost in the Dream

By Warwick Moffat

The evening had three elements. Firstly, the Melbourne Royal Botanical Gardens at night, as ushers spotted spaces amongst fellow revellers where your own blanket might rest. For those bodies (like mine) which strain when too far removed from modernity, chairs are for hire. It was a welcome respite from the working day. Secondly, there is the play. It was declared that we were there to be entertained and every effort was made to ensure we were. The efforts of the cast and crew were expertly directed by Glenn Elston; the audience appeared truly lost in the world created for them.

Thirdly, and for me this was the most memorable element, every opportunity was taken to use the garden to highlight the play’s key themes. Shakespeare’s A Midsummer Night’s Dream warns of how natural forces can influence human passion and endeavour. The slight and thankfully brief evening shower seemed to be Nature’s own foreword. When Titania (Shireen Morris) bellowed her intent to utilise the wind, the weather even obliged on cue and Morris’s performance as the fairy queen deserved this compliment.

The setting and performances skilfully brought out the animalism within this comedy, where other companies have sadly missed it. Impressive acrobatics (especially Tamika Ball and Liam DeJong), and dance impressed upon us the wildness and sensuality of the woods inhabitants. When the Athenians entered this world, it magnified their all-too-human qualities and made their descent under Puck’s (Arky Elston) bungled spells all the more believable. When the lightshow, the trees and the music of Paul Norton combined during the casting of spells, I became overwhelmed by this realm where natural forces and human intent meet. Elston made Shakespeare’s trickster his own, through physical comedy and a distinct Gen-Y sensibility.

The tradesmen were excellent (Hugh Sexton, Simon Mallory, Ross Williams, Kevin Hopkins and Anthony Rive). Any clown can be silly: these clowns had a depth of character that left the audience laughing but also empathising with their faults. Mallory’s Bottom was not just an Ass; he was a brilliantly cringe-worthy ham, whose need for approval left you wanting to organise a group hug. William’s Snug gets my vote overall, so frustratingly dense and yet so sweet that you would never dare yell at him. That being said, the entire cast performed with flair and enthusiasm.

The Australian Shakespeare Company delivers Dream with the maturity of a troupe who are, after all, celebrating their twenty-fifth year in the Gardens. This comic spectacle has a vitality which comes with never taking your audience for granted.

Dates: 21 Dec 2013 – 15 Mar 2014.

Location: Southern Cross Lawn, Royal Botanic Gardens Melbourne. Enter through Observatory Gate on Birdwood Ave. Gates open 90 minutes prior.

Times (for Feb 11 2014 to Mar 15 2014): Tue to Sat at 8pm.

Tickets: $25-$45

Bookings: 03 8676 7511 or www.shakespeareaustralia.com.au or Ticketmaster 136 100.

What to bring: Pack a picnic, a blanket or cushions to sit on and insect repellent.

Events, Festivals, Review, Theatre, Whats On January 19, 2014

REVIEW: Mockingbird Theatre Presents THE TEMPEREMENTALS

Unmissable Midsumma fare

By Ross Larkin

“Before Stonewall, a braver bunch of us stood up to the plate… before there even was a plate”.

The Temperamentals is a curious little piece based on true events. Written by Jon Marans in 2009, it made a significant impression off-Broadway, and has maintained a cult following and critical respect since. Local favourite Mockingbird Theatre provides the perfect team to re-imagine this important story as an inclusion in the 2014 Midsumma Festival and a Melbourne premiere.

The Temperamentals is set in the USA in the 1950’s, when homosexuals were forced to lead secret lives of façade and repression in a society of bigotry. However, five young men dared to reveal their truths and confront the world around them, by founding the first gay rights organisation called the Mattachine Society. The group is accelerated into ambition when its member, Dale Jannings (Sebastian Bertoli) is arrested by an undercover cop in a public toilet.

Bertoli is exceptional as the unassuming Jannings, with the ability to maintain striking presence and poignant subtlety at once. In fact, director Chris Baldock’s casting overall is outstanding. The small ensemble of five, most of who play a variety of characters, exhibit genuine versatility and chemistry with highly accomplished direction.

Tim Constantine in particular, who plays Austrian fashion icon Rudi Gernreich, engages charisma, shame, passion and hurt with an understated three-dimensional beauty that allures audience members during his journey. Angelo De Cata, as Mattachine Society protagonist Harry Hay, is also a solid centrepiece, embodying a brave but pained man with excellent conviction, while supporters Angus Cameron and Jai Luke add a kick of colour and humour to the otherwise intense circumstances.

The Temperamentals is a slow-burner, with more telling than doing, and may not grab you until you’ve truly fallen for its beloved characters. However, it’s most certainly worth holding tight for, because fall you will – in another highly praiseworthy example of Chris Baldock and Mockingbird’s ability to stage some of the most noteworthy theatre in town.

The Temperamentals is playing now at The Brunswick Mechanics Institute Performing Arts Centre (corner of Glenlyon and Sydney Roads, Brunswick) as part of the 2014 Midsumma Festival.

Tue 21 Jan – Sat 25 Jan at 8pm
Sun 26 Jan at 5pm
Tue 28 Jan – Sat 1 Feb at 8pm

Bookings:http://www.trybooking.com/61975

Cabaret, Cabaret Review, Festivals, Whats On January 17, 2014January 17, 2014

REVIEW: Michael Griffiths is IN VOGUE

Strike a pose

By Ross Larkin

A young man singing and playing Madonna songs on the piano, and assuming her as a ‘character’, relaying snippets of life anecdotes between tunes?

You’d be forgiven for rolling your eyes at the very notion.

However, I’m willing to risk offending many a die-hard Madonna nut, by going so far as to say, that Michael Griffiths, a WAAPA graduate of Jersey Boys fame, has more talent in his little pinkie than the material girl could fantasise about. Yet, Griffiths’ extraordinary talent is undermined by the show’s non-musical content.

Madonna is widely both loved and laughed at. Her unprecedented success and fame go hand-in-hand with immense failures, criticism and controversy: selling bucket-loads of records one minute, and being scorned for acting attempts and outlandish behaviour the next.

Griffith’s portrayal and director Dean Bryant’s vision for this year’s Midsumma Festival show no shame in showcasing Madonna in her weaker light, highlighting her often shallow lyrics and narcissistic ways to the point of mockery, even bordering on disrespect. Yet: cue the singing and playing and we’re suddenly enchanted by gorgeous and moving renditions of ‘Like a Prayer’, ‘Material Girl’ and other well-known pop classics, basking in the typically ambient lighting of fortyfivedownstairs and sounding more glorious than ever.

Sure, the aim of the dialogue is to be lighthearted and fun. Yet, unlike the duo’s other popular cabaret celebrating and portraying the career and personal life of Annie Lennox (Sweet Dreams: Songs by Annie Lennox, playing in conjunction with this show for Midsumma), In Vogue lacks elegant cohesion and purpose, and therefore struggles to flow as engagingly as it should. Whereas Sweet Dreams beautifully combined the heartbreaking (and often humorous) tales of Lennox’s love affair with Dave Stewart, intertwined with brilliant reinterpretations of her songs, In Vogue generally succeeds only where the latter is concerned.

However, Griffiths is such a musical talent that the show is justified by his renditions alone. In fact, I’m always left wanting more and more of his playing. It’s just that, in this case, I could take or leave the script.

In Vogue is playing now until January 26 – Wednesday to Sundays at 9pm at fortyfivedownstairs, 45 Flinders Lane, Melbourne.

Bookings at www.midsumma.org.au

Events, Musical Theatre, Review, Whats On January 5, 2014January 6, 2014

REVIEW: Gordon Frost’s GREASE THE MUSICAL

New production of the rom-com musical classic hits Melbourne

By Bradley Storer

After an impromptu greeting by the ensemble cast of Gordon Frost’s Grease led by Principal Lynch (Val Lehman) welcoming us to the halls of Rydell High School, the lights go down and a brief love duet between romantic leads Sandy (Gretel Scarlett) and Danny (Rob Mills) leads into the electrifying opening ‘Grease is the Word’.

The cast emerges from the smoke, each character instantly distinguishable in the tight and precise ensemble, and all is right with the world. ‘Grease is the Word’ is exciting, characterful and taps immediately into the hot-blooded vivacity of 50’s youth culture.

What is so disappointing is that very little that follows matches the opening number. The classic score is still fantastic, under the musical direction of Stephen Amos, but the energy in both the musical numbers and scenes never reaches the level it should be at. (Act I song ‘These Magic Changes’ led by Chris Durling as Doody comes the closest to achieving the strength of the first number).

Scarlett and Mills are perfectly believable as the lead couple. Mills uses his cheeky charm to good effect as bad boy Danny, and Scarlet gives off an aura of sunny innocence as Sandy, and shows off a surprising range in her number ‘Hopelessly Devoted to You’. Danny’s gang, the T-Birds, tend to blur together with their similar hair colours and identical outfits, although Duane McGregor as Roger does get to display some impressive vocals in his duet ‘Mooning’ with Jan (Laura Murphy). Stephen Mahy as Kenickie is oddly restrained to the point of being underpowered, displaying the rock stylings necessary for the biggest number in the show ‘Greased Lightning’ but none of the rock star sexual charisma.

The female characters as a whole fare better. Lucy Maunder as Rizzo is the highlight of the entire show, grabbing attention as soon as she struts out in her dark sunglasses and by the end delivers a commanding performance of ‘There Are Worse Things I Could Do’. The first-rate ensemble are to be commended for performing with complete energy and commitment in everything they appear in, with special mention to ensemble member Euan Doidge for the onstage acrobatics he pulls off at various points in the show.

Melbourne season: 5^th January – 16^th March, 2014.

Venue: Her Majesty’s Theatre, 219 Exhibition St, Melbourne

Tickets: Online at http://premier.ticketek.com.au/shows/show.aspx?sh=GREASE14