Month: September 2022

Circus, Theatre

Review: Circonoclasm – NICA

An enthralling exploration of art

By Leeor Adar

Always in for a treat, NICA delivers an enjoyable romp with a message from its second-year student ensemble.

Directed by David Woods (Ridiculusmus Theatre Company, London), Circonoclasm is a sharp and fun take down of the sacredness of the arts space. In the National Australia Gallery, the artwork’s shelf life is brief as elastic thieves swing, bounce and flounce between the bored security guards. As the nation collectively yawns, bored by the art perhaps, or bored by the way in which it is displayed, the capable hands of thieves go to work.

“Not our fault” is repeated by a gussied-up Maya Davies, who in a transatlantic accent delivers a history of all the failed attempts to preserve past works. In Woods’ own words, the “deadpan physical theatre schtick” is the mode for which iconoclasm is explored by the students in this 70-minute performance. The messaging is clear: the arts has given way to excuses and corporate sponsorships, where art for art’s sake is preferred to quality. One could say we experience Circonoclasm as shtick for schtick’s sake, but I like that Woods has injected something deeper into the showcase of NICA’s talent.

The talent is indeed on display, which is a hard feat to pull off when you have a 23 strong ensemble with their own unique skill to showcase. We cycle through Seurat (with a magical nod to the circus), Michelangelo and Munch to name a few, as works of art come to life through the physical expression of the performers.

Dominating the performance is a series of heists that toy with physical boundaries, but the plot thickens (as does the humour) with enquiring characters, a dog-pigeon, and some fantastically mind-bending backtracking. In an attempt to uncover the architects of the heist, we are treated to a series of hysterical vignettes where the guards interrogate one another. Notable mentions to Dean Moran’s compelling relationship with an orange, and Harrison Sweeney’s great seduction.

Overall, I was enthralled with NICA’s talent and Woods’ vision.

Circonoclasm was performed at the National Institute of Circus Art. For more about NICA visit https://www.nica.com.au/

Musical Theatre, Review, Theatre, Whats On

Review: Freaky Friday

Family, love and hard truths, by Kiana Emmett

Theatrical’s Victorian Premiere of Freaky Friday is a fresh new take on the Disney movie we all know and love, bringing a familiarity and an updated viewpoint on the story of Mother and Daughter who switch bodies.

As the two leading players, daughter Ellie (Lyla Digrazia) and mother Katherine (Stephanie Powell) are both strong. The score is a big sing, and they both do well to keep up with it throughout the piece. Powell’s comedic timing as the daughter Ellie trapped in her mother’s body is well executed and highly entertaining, she manages to perfectly execute the differentiation between the physicality of mother and daughter. Her solo moments including ‘Parents Lie’ and ‘After All of This and Everything’ were heartfelt, and these emotional ballads are where she seemed to thrive the most.

Digrazia’s performance was deeply grounded and was a strong presence on stage, setting the precedence for those around her. Her vocals were strong, and she was at her best during ‘Oh Biology!.

The standout of the production however was Michael Gray as Katherine’s husband to be Mike. His vocal prowess was undeniable but felt underutilised in a score that so heavily featured mother and daughter. 

Vocally, the highlight of the show was ‘Bring My Baby (Brother) Home’ near the top of at two with Digrazia, Powell and Gray all at their strongest and most impressive.

The supporting cast gave strong performances, with Jessi Neilsen Carreno, lending her strong voice to play Ms Meyers during ‘Watch Your Back’ as well as a multitude of other cameo roles. Jack Lear’s comedic timing was brilliant, with small interjecting lines throughout the piece that had the audience in stitches. Tach Sutton was also strong as Katherine’s assistant Torrey.

There were a few issues and malfunctions of set and props throughout the show, and I felt the transitions were at times a little clunky, but as a whole the production was strong in its delivery of story above all else. The intimate setting of Chapel off Chapel was perfect for the scale of the production and the lighting design was crucial in the believability of the magical aspects of the show. The lanterns used in the opening of the second act were also effective, with cast members heading into the audience, enhancing the relationship between story and audience.

Musical direction by Peter Pham Nguyen was strong, with harmonies being clean, and packing a punch when it really mattered. The work done with leads especially in their vocally demanding performances was clear, and helped to further the story more.

Theatrical’s Freaky Friday depicts the importance of family and love, accepting hard truths in life and coming together despite it all. It is a hilarious, heartfelt night out!

Freaky Friday is playing at Chapel off Chapel until the 18th of September. Tickets are available at:

https://chapel.sales.ticketsearch.com/sales/salesevent/76184

Cabaret

Review: Il Mago di Oz

Journey into another world, by Owen James

Victorian Opera’s production of Il Mago di Oz (The Wizard Of Oz) is a delightful cornucopia of music, design, and storytelling that is sure to put a Ozian smile on your face. Keeping faithful to L. Frank Baum’s original text (now 122 years young), composer Pierangelo Valtinoni and librettist Paolo Madron incorporate characters and plot points that differ slightly from the famous 1939 film, keeping us intrigued every step along the Yellow Brick Road, and twisting our expectations to ensure their work stands on its own in the labyrinth of Oz adaptations.

Georgia Wilkinson shines as Dorothy, a role she was born to play. Adorned in silver shoes (as the original novel dictates – no ruby slippers here!), Wilkinson glides over impossible motifs and confidently fills every crevice of the magnificent Palais without amplification. Her high notes in the penultimate scene melt effortlessly in the air, and she pulls us in to Dorothy’s fairytale with expert repartee between fellow cast and audience alike, emanating joy for performance in every beat.

The Scarecrow (Michael Dimovski), The Tin Man (Stephen Marsh), and The Cowardly Lion (James Emerson) are an equally matched troupe, in vocal prowess and high-strung comedic energy. They each have a distinct sound that defines their characters, and together, provide a masterful blend for a male trio – among the best I’ve heard.

Tiernan Maclaren is the audience favourite as thoroughly over the top Guardian of the Gates, and The Wizard Of Oz himself. Maclaren cracks smiles not only throughout the audience, but in the ranks of the masterful children’s chorus, a highlight every time they pour onstage. Staging Director Constantine Consti has given these cheeky munchkins clear, defined movement – an impressive feat given their number and age!

There are no hummable melodies in Pierangelo Valtinoni’s score, but still it is a musical paradise. The children’s chorus are used to spectacular effect, especially in darker moments, where their haunting phrases remind me of compositions by Michael Abels and Indigenous ensemble Spinifex Gum. Valtinoni captures the atmosphere for each scene with rousing orchestration (divinely conducted by Chad Matthias Kelly), embellished by Paolo Madron’s often amusing libretto, which makes skilful use of purposely out of place slang, always rewarded with a laugh. Daniel Gosling’s projection and lighting design amplifies this magical score, reaching its apex when Dorothy and crew arrive at the Emerald City; the Palais shimmers in green from top to bottom. Costumes by Mel Serjeant are stunning, beautifully tailored for each character and packed with detail.

Il Mago di Oz ran for only two performances, and is another remarkable new work from Victorian Opera. Here’s hoping the season’s success prompts a return in the near future: https://www.victorianopera.com.au/season/il-mago-di-oz