Month: January 2018

Festivals, Theatre

Midsumma Presents We Were There

A new piece of verbatim theatre presents an often unheard perspective of HIV and AIDS.

By Lois Maskiell

When it comes to verbatim theatre truth is never far away as the script is constructed from the exact words of real individuals. Dirk Hoult and Gavin Roach of Tilted Projects have developed their latest production, We Were There, from interviews with 15 different women who were directly involved in the HIV/AIDS crisis during the ’80s and ’90s.

Based on real accounts of sisters, mothers, wives, friends, volunteers and medical professionals who cared for those living with HIV/AIDS, this production transmits their often unheard, devastating and heart-warming experiences.

Actors Perri Cummings, Olivia Monticciolo, Leah Baulch and Jodie Le Vesconte all play various women, at times HIV-positive women and at other times medical professionals involved in caring for people with this virus. Their characters are initially somewhat fluid, they don’t seem to have set names, and in the early stages of the performance they interrupt each other, releasing fragmented experiences in a dynamic and fast rhythm. We meet a young woman who had unprotected sex while holidaying in Israel, a mother whose partner transmitted the virus to her without ever knowing he was positive himself as well as a nurse and a doctor.

Director Dirk Hoult has put together a coherent, post-dramatic piece which despite resisting realistic characteristics of time and space, comes together in a clear narrative. Strong visual and physical cues assist in transitions between scenes and notify the audience when a speaker has changed – particularly important as performers don’t wear identifiable costumes.

Jason Bovaird’s lighting features the clever use of darkness to create a rough and brooding atmosphere in the intimate Chapel Loft. In several instances, significant shifts in lighting allow a sudden change in tone, engulfing the space with warmth during happier moments – like the recounting of a wedding. Alexandra Hiller’s set design includes essential items such as chairs, as well as a large, ambiguous cloud-like structure which had a meaning and significance I found difficult to discern. Nonetheless, it contributed to an eerie atmosphere, that seemed neither of this world nor of another.

This production’s brilliance lies within its ability to lay bare pertinent social issues. By deconstructing the stigma around HIV/AIDS and depicting real life experiences, the vitality of its message is what stands out most.

Its strong group of actresses were clearly moved by the accounts of the women they were bringing to life, which in turn was moving to watch. The dedicated nurse, the advocate who attended three funerals a week for years, the young woman who had her first relationship after being diagnosed – all of their stories of both celebration and despair are deeply affecting and worth sharing.

Dates: 23 January – 4 Febuary
Venue: Chapel Off Chapel
Times: 7:30pm
Prices: $39 – $49
Bookings: https://midsumma.org.au/program/wewere18

Theatre

Midsumma Presents Oscar Wilde’s De Profundis

Director David Fenton and performer Brian Lucas have rendered a powerful adaptation of Oscar Wilde’s De Profundis 

By Lois Maskiell

In 1897 England, Oscar Wilde was incarcerated at Reading Gaol for multiple crimes of public indecency. In this prison he wrote De Profundis (a prayer from the depths), a letter to Lord Alfred Douglas, Wilde’s former lover and man whose father is said to have been responsible for his imprisonment. Published in 1905, five years after Wilde’s death, De Profundis survives as an essay of an artist, an autobiographical account, that passes through articulate moods of suffering and meditations on art.

Director David Fenton, whose artistic career spans numerous productions with companies such as Bell Shakespeare and La Boite, has created a production that remains largely loyal to the text. The letter lends itself easily to a monologue, which is exactly how Fenton has adapted it to stage by distilling it to 75 minutes. Fenton’s stripped back style and use of powerful images – the naked body, gushing flowers and overflowing glasses – aided by Ray Pittman’s video design, creates a heightened production with a sensory meaning beyond language.

Dancer, actor and choreographer, Brian Lucas plays Wilde in a charged and affecting performance. His luxurious voice offers Wilde’s words with poise and stamina, and his physical delivery expresses this soul in anguish in a crude and visceral manner. Ray Pittman and Fenton’s stage design features a sterile cell, barren except for a few books and a bench, which emphasises the gritty dimension of Lucas’ performance. The contrast between the lofty, poetic tones of Wilde’s writing and the harsh reality of an isolated body make for a powerful impact.

Despite being a small production, Fenton’s direction with Lucas’s sharp delivery form a total and complete work. They use everything for maximum effect: there are no superfluous moments, no uncertain instances. David Megarrity’s compositions and Brandon Dowery’s lighting are equally direct and contribute to the production’s stark simplicity.

We might think Australia, as the 26th country to achieve marriage equality, shares little with Victorian era England where punishment for ‘gross indecency’ was cellular confinement and forced labour. However, this piece reminds us that the liberty of the body has and continues to be contested within social and political spheres.

It’s rare that a performance remains with me long after I’ve left the theatre, but the sensitivity and ethically demanding nature of this piece lingered for days. So, if you’re unsure which Midsumma show to see and have an expectation to be moved, Oscar Wilde’s De Profundis should be on your list.

Dates: 23 – 27 January
Venue: Gassworks Art Park, Albert Park
Times: 7:30pm
Prices: $30 – $35
Bookings: https://midsumma.org.au/program/deprof18

 

Theatre

Arts Centre Presents NASSIM

The novelty of first greetings turns into a unifying experience

By Leeor Adar

Playwright Nassim Soleimanpour returns with NASSIM after the very successful run of White Rabbit Red Rabbit series, which globally had some exceptional actors take a leap of faith without rehearsal to perform before an audience alone. Translated to 25 languages, White Rabbit Red Rabbit had a unifying effect on all who embraced the performance, whether as the audience or the actor. NASSIM has a similarly unifying effect, and due to the nature of the performance, I cannot reveal the contents of the piece, but I can unpack its meaning and impact for those like myself who experienced it.

In this Melbourne run at Arts Centre taking place over 5 nights, a new actor will appear each show to perform Soleimanpour’s piece. The play straddles between the hype of its mystery and the pure communal joy for those who find themselves connecting with it. I myself did not know what to expect, other than the fact that an accomplished Australian actress, Alison Bell, would be arriving on stage on this particular evening without prior reading of the script, or a rehearsal. That in itself requires enormous trust between actor and audience. The audience must come armed with openness and faith in the actor, and the actor in turn must submit themselves to the experience in a way that strips them bare of ego or expectation – the only currency here is trust.

Language is the central feature of the piece, and its power to alienate and bring people together is what drives NASSIM. So much of what informs the piece is Soleimanpour as its writer; a man once forbidden from leaving his home country of Iran sets his writing free across the globe. A theme that pervades the piece is the need to connect across continent and time to a sense of place and home. Soleimanpour evokes memories within us all, memories that most of us share in common, no matter our origin.

NASSIM is heart-warming and unexpected. Bell herself was frequently blushing with emotions ranging from joy to amusement. Bell brought a playfulness and candour that suited the piece perfectly, and the audience went on the journey with her which provided a communal and fun-loving energy in the theatre. When the performance was over, my friend and I turned to each other brimming with something completely positive.

NASSIM is such a choice way of taking the novelty of first greetings and turning them into a bonding experience for audience, actor and playwright alike. I have no doubt that the coming performances will have a similar impact on their audience.

Dates and times:
Wed 7:00pm 24 January feat. Benjamin Law
Thu 7:00pm 25 January feat. Charlie Pickering
Sat 5:00pm 27 January feat. Nakkiah Lui
Sat 7:30pm 27 January feat. Catherine McClements
Sun 5:00pm 28 January feat. Denise Scott
Venue: Fairfax Studio, Arts Centre Melbourne
Prices: $40 – $50
Bookings: https://www.artscentremelbourne.com.au/en/festival-and-series/nassim
Photo credit: Mark Gambino

Musical Theatre, Theatre

Midsumma Presents Moonlite

Bitten By Productions tells real-life story of Australian bushranger, Captain Moonlite

By Owen James

The sounds of Smith Street, Collingwood filter below the pavement into the basement of the Grace Darling Hotel. A more fitting location could not be found to tell the real-life story of Australian bushranger and gun-slinger, Captain Moonlite. Surrounded by stained walls of broken stone and dripping pipes, and accompanied by four authentic bluegrass musicians, we are told a story long forgotten by history.

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Photographs: Sean Carney

The toe-tapping, original music by Dan Nixon is sometimes moving, sometimes frantic, but always filled with fun and passion. It’s beautifully composed and always perfectly suited to the mood of each scene. There is perhaps even more room for Nixon’s compositions in this dialogue-heavy show.

The script by Gabriel Bergmoser takes us smoothly from location to location, present day to the past via flashbacks, and openly explores the characters’ motivations and emotions without ever locking into one definite version of history. This is for the best, allowing the audience to create their own preferred version of Captain Moonlite and his comrades and foes in their minds.

The cast of versatile performers is led by Tim Constantine as Captain Moonlite himself, who explores the intimidating, menacing and bank-robbing public personality, as well as the man who hid underneath the rough exterior. Constantine is the man for the part, his cackling laugh and booming voice fitting the Australian outlaw stereotype we expect, while also making the role his own.

James Coley as Rogan and Daniel Cosgrove as Faulkner both play characters with powerful personalities, who are given a chance to shine in superbly executed monologues. Ryan Smedley as love interest, Nesbit has a beautiful voice that glides over Dan Nixon’s higher melodies and harmonies with ease.

Completing the cast of seven are Megan Scolyer-Gray as the mischievous Werneke, Saxon Gray as Claude and Katy Nethercote as the doting Helen. The cast as a whole carry their material with power, conviction and presence, drawing us into the past while simultaneously reminding us of issues still prevalent today. It really is a perfect contribution to Midsumma Festival.

Original Australian musicals are rare: when one comes along, it’s a must-see and Moonlite is no exception. This production will make you laugh, think, consider our history, and therefore our future.

Dates: 17 January – 4 Febuary
Venue: The Grace Darling Hotel, 114 Smith St Collingwood
Times: Wed 7:30pm, Sun 4:00pm
Prices: $25 – $32
Bookings: https://midsumma.org.au/program/moonlt18

Theatre

GJ Productions Presents Twelfth Night

An evening of intrigue, love triangles and bawdy humour

By Owen James

It is a true joy to watch Shakespeare performed in Australian accents in an outdoor amphitheatre by lakeside. As the sun slowly sets and the stage lights take over, words and music fill the night (as do the unavoidable mosquitos), and one cannot help but feel magic in the air.

Photograph: Matthew Howat

I will admit that Twelfth Night is easily my favourite Shakespearian comedy and I was pleased this production drew plenty of giggles from the crowd. When the hesitant yet excitable Viola (Chloe Towan) disguises herself as a man, confusion and hilarity ensue for both the princely Duke Orsino (Vincent Kos) and the commanding Olivia (Grace Maddern), as well as their staff and family.

Director Jack Wilkinson has crafted a production that maintains all the traditional Shakespearian elements we expect: intrigue, love triangles, bawdy humour and cross-dressing, while also including contemporary jokes and accents to help a modern audience relate to the material. This works well where included, but is scattered inconsistently throughout. Further inclusion of contemporary references may have helped provide clarity for audience members unfamiliar with the text.

It is amongst the more heightened caricatures of Sir Toby Belch (Joel Norman-Hade) and Sir Andrew Aguecheek (Jacob Mills) that the biggest and best laughs are found. Playing alongside these tricksters are Maria (Madeline Pratt), Fabian (Laura Majzoub), Malvolio (Timothy Ian McMullin) and the audacious Feste (Sean Sully), who as a team clearly enjoy their time performing together, and their enthusiasm reverberates with both cast and audience.

Comrades Sebastian (Jack Hawkins) and Antonio (Jake Matricardi) form the rest of this cast of eleven, contributing effectively to the pace and energy that everyone maintained with full gusto for this two and a half hour performance. However, for such a text-heavy show there were moments where some actors did not seem to understand the full intention behind their dialogue, nor craft believable or memorable characters. The outstanding highlight was undoubtedly actor, Jacob Mills as Sir Andrew Aguecheek, whose delivery and improvisation were exquisite.

Lighting and sound is simple and effective, and masks (Tessa Wallis) and costumes are noticeably colourful and assist in our understanding of this convoluted plot (as does a character map found in the program).

GJ Productions should be applauded for producing family-friendly Shakespeare in Australian accents, and it is wonderful to see a space like the Fairfield Amphitheatre being used on a warm, Melbourne night. So, bring your chairs and picnic baskets along to Twelfth Night, running until January 28th.

Dates: 19 – 28 January
Venue: Fairfield Amphitheatre
Times: 8:00pm
Prices: $9 – $30
Bookings: https://www.gjproductions.net/home
Image by: Matthew Howat

Cabaret, Festivals

Midsumma Presents Lucky: Songs by Kylie

Glimpse into the life of one of Australia’s greatest pop artists

By Bradley Storer

Barely surviving in the sweltering heat, the spirits of the audience at fortyfivedownstairs were lifted as we were greeted by that perfect 80’s pop confection “I Should Be So Lucky”, which also provides the title for Lucky: Songs by Kylie as part of Midsumma Festival.

The show is bound together loosely by a slim narrative of Minogue’s life, beginning with her first collaboration with powerhouse pop composers Stock Aitken Waterman and writer/director Dean Bryant, which keeps the pace brisk and sparse. Songs are tied into key moments of Minogue’s career, her romance with Michael Hutchence and eventual diagnosis with breast cancer (interspersed with a few Craig McLachlan jokes that felt slightly too soon after last week’s allegations). A point is made of Minogue not being regarded warmly by Australian audiences at the beginning of her career, when she transitioned from soap starlet to massively successful musical artist, until she found success overseas – a reminder of how deep ‘tall poppy syndrome’ runs in Australian culture and how we still fail to embrace our local artists.

The main attraction here is the music, and under musical director James Simpson with his four piece band, the hits don’t stop coming. From her biggest hits, re-arranged much the same way Minogue herself has modified them throughout her lengthy career, to numbers less familiar (“Hand on Your Heart” was particularly poignant) the audience was bopping along and mouthing the lyrics joyfully. A medley of her dance anthems sped things along, but with her massive back-catalogue of familiar numbers it felt like a tease to only hear a few lines of each. Her best works – “Can’t Get You Out My Head”, “Better the Devil You Know”, and “Confide in Me” to name a few – were well represented.

Michael Griffith played Minogue herself, but in no way attempted to sound like, look like or imitate Kylie. Speaking as her, Griffith instead channeled the diva through the prism of his own mischievous charm, and his obvious joy and enthusiasm for singing Minogue’s music was incredibly infectious. His bright, clear singing tone suited the material perfectly and was supported by a bevy of backing vocals from the band.

A glimpse into the life of one of Australia’s greatest pop artists, and more importantly, an excuse to listen to some of the catchiest pop music ever written. Lucky: Songs by Kylie was the perfect Midsumma treat!

Lucky: Songs by Kylie ran until 21 January, 2018 for Midsumma Festival.

Cabaret

Butterfly Club Presents Cell, Block Tango: Show Tunes of Modern Dating

A comic education in modern dating

By Narelle Wood

What is not to love about the combination of a Fosse style cabaret, bad pick-up lines and terrible tales from the dating scene? Cell, Block Tango: Show Tunes on Modern Dating provides an uncomfortably accurate and therefore very funny perspective of what it is like to be immersed in the modern, singles scene.

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The show is a combination of show tunes, from the likes of Cabaret, Sweet Charity and Chicago: it’s a little disturbing how well some of these tunes, for example Mr Cellophane, seem to capture the experiences of the dating world. Scattered amongst the reworked and reworded tunes are anecdotes exploring everything from the do’s and don’ts of creating a Tinder profile, negotiating the perils of the first date, and of course the feelings of hope of having finally found ‘the one’ and the soul-crushing disappointment of having let ‘the one’ go. It’s a modern tale, so there are references to ghosting, unsolicited pics, and ways emojis are used for sexual innuendo. It was obvious from the laughter that this was familiar territory for most of the audience.

There were some small instances of first night nerves from Lelda Kapsis, Andrew Iles and Louise Baxter, but that aside the cast had chemistry, strong voices and delivered their monologues with conviction. A couple of times it was a little hard to hear due to some varying microphone heights, but this is being really nitpicky.

I was worried when I sat down and we were invited to share some bad dating and pick-up line stories that the show was going to be interactive: this always makes me very uncomfortable. But the cast were both respectful of people declining the invitation and of people’s personal anecdotes. No one was harassed, embarrassed or singled out.

This show is a perfect combination of the satirical style of something like The Office and cabaret. Regardless of whether you are single, in a loved-up couple, or have an alternative romantic arrangement, Cell, Block Tango: Show Tunes on Modern Dating is guaranteed to either provide some good laughs or at the very least an education. Although I’m not sure it would be suitable for a first date – the humour maybe based on a reality a little too close to home – it’s definitely worth the night out, and I certainly left still chuckling.

 

Dates: 16 – 21 January

Venue: The Butterfly Club, Carson Place, Off Little Collins Street, Melbourne

Times: 8:30pm

Prices: $26 – $32

Bookings: thebutterflyclub.com/show/cell-block-tango-showtunes-on-modern-dating

Cabaret, Festivals, Music

Midsumma Presents John Barrowman in Concert

Hamer Hall hosts a glittery Captain

By Owen James

While most of Melbourne was screaming at the Australian Open, 2500 people were screaming at international star, John Barrowman. For one night only Hamer Hall played host to the international star made famous by Doctor Who, Torchwood, Arrow and numerous West End and Broadway shows. Adorned in glitter from head to toe, Barrowman could say anything to his Melbourne crowd and have it received with both rapturous applause and cheers louder than the music.

Journeying across a world of musical styles, Barrowman never stayed in one stylistic continent for long. Over almost three-hours, we were treated to musical theatre, pop, rock, jazz and even a traditional Scottish ballad. His Australian seven-piece band were more than capable of seamlessly transitioning from genre to genre, backing Barrowman’s powerful vocals with punch and passion. This seven-piece band were in fact so capable that the pre-recorded backing vocals and synthesised strings were largely unnecessary and at times, distracting. Perhaps a second keyboard might have better provided those additional sounds – so that although synthesised, at least they were performed live alongside all other music.

Barrowman himself provided an unforgettably energetic performance, entertaining every seat in the house. The incredible power and timbre of his voice transcended genre and would have surely amazed those who knew Barrowman only for his screen roles. Scattered between songs were anecdotes and stories of what life as the famous John Barrowman is really like. His love and passion for all things important in his life: equality, music, his pets and his family, shined stronger than his sequins (if that’s possible).

After a third standing ovation, Barrowman conceded to an unplanned third encore – a simple piano ballad satiating his hungry crowd. Barrowman promised numerous times of his plans to come back to Melbourne soon with a “bigger and better” show, featuring dancers and more singers. So John, if you’re reading this – please do.

John Barrowman in Concert ran for one night only on 16 January, 2018 for the Midsumma Festival.

Theatre

Master Class at South Bank Theatre

Amanda Muggleton as Maria Callas takes centre-stage

By Lois Maskiell

The hallowed soprano singer, Maria Callas, known for her penetrating and dark voice is brought to life by Amanda Muggleton in the latest production of Master Class.

Hailed as La Divina, Callas spent much of her life touring internationally and performed at venues such as La Scala and the Metropolitan Opera. In 1971, four years before her death, Callas lead a series of masterclasses at the Juliard School in New York and it’s here that Terrence McNally has located his play.

Directed by Adam Spreadbury-Maher of the Kings Head Theatre, this production that tributes La Divina reveals how great art can immortalise an individual’s life.

SAC THEATRE MASTERCLASS 1 credit Kate Ferguson

When Muggleton struts centre-stage, she reminds us that she has no need for a microphone. Her voluminous voice fills the Lawler Theatre and she’s immediately convincing and engaging. Lecturing her audience on what it means to perform, it appears we’re not simply theatre-goers but students of the masterclass itself.

Three unseasoned yet determined students planted in the audience soon volunteer to sing, accompanied by Manny (Dobbs Frank). The skittish Sophie De Palma (Kala Gare) attempts the aria Ah! non credea mirarti from La Sonnambula, though hardly gets past the first note. The next victim, Sharon Graham (Jessica Boyd) attempts Verdi’s Lady Macbeth, followed by the confident, Anthony Candolino (Rocco Speranza) singing Tosca’s Recondita armonia. Callas grilles each student for not understanding their characters’ emotions which they should be vehemently inhabiting.

All the great characters whom Callas brought to life – Tosca, Lady Macbeth, Medea and Amina – seem to be mirrored in her own experiences. While she shares her past through a series of anecdotes and flashbacks, we’re reminded of her turbulent relationships with her mother, sister, husband Meneghini and lover, Aristotle Onassis.

Callas is presented as a true artist – full of extremes and with a vivacious personality. Encouraging her students to have both “style” and “mut” (German for courage), Muggleton absolutely embraces McNally’s vision of Callas as the ultimate prima donna.

Dates:  5 January – 3 February

Venue: Southbank Theatre, The Lawler

Times: 3:00pm, 6:30pm, 8:30pm

Prices: $85 – $96

Bookings: http://www.mtc.com.au/plays-and-tickets/other-companies/masterclass/

Photo credit: Kate Ferguson

Cabaret

Butterfly Club Presents Genuinely Impossible

Magician, Lawson Reeves does the impossible

By Jessica Gittel Cornish

Ex-Big Brother housemate come self-made magician, Lawson Reeves entraps even the greatest sceptics as he entertains, jokes and ploughs through trick after trick. Kicking off his debut solo magic show, Genuinely Impossible presented by The Butterfly Club, Reeves gives it his all to win the crowd over – embracing every moment in the limelight with his crude humour and sleight of hand skills.

lawson reeves

Lawson keeps telling us it’s not a traditional magic show because women aren’t being hacked in half, but I found it did come close, to be honest. However, Reeves consistently throws in an unexpected and surprising twist on the old faithful standard tricks such as that illusive five-dollar note appearing in the most unexpected places again and again.

The 60-minute performance drew on the ex-reality TV star’s larrikin charm and colloquial Aussie banter which weaved in and out of his illusions. And of course, what magic show isn’t complete without some crowd participation? Reeves had members of his audience literally whimpering and hooting with amazement at his sleight of hand skills and illusions.

I had a great night despite Lawson appearing a little nervous and a tad clumsy with his hands at times, resulting in a card drop or two. Though understandably so, as even the slightest of errors with timing can easily impair a trick. Alas, all can be forgiven in this world and should be. Reeves has great potential and was able to perform some really impressive stunts on the night using only a deck of cards, a sharpie and a tiny plunger.

Overall the show was well thought out and planned and his sleight of hand performances were easily viewable, even for those out in the cheap seats – thanks to a carefully positioned video camera and projection screen. Magic isn’t real, but sometimes when everything goes just right and the genuinely impossible becomes possible, it’s a pretty special moment. Get down to the Butterfly Club and give your brain a run for its money and solve the seemingly impossible.

 

Dates:  9 – 14  January

Venue: The Butterfly Club, Carson Place, Off Little Collins Street, Melbourne

Times: 8:30pm

Prices: $28 – $32

Bookings: https://thebutterflyclub.com/shows