Category: Events

Events, Performances, Review, Theatre, Whats On March 7, 2014March 7, 2014

REVIEW: La Mama Presents THE FAMILY TREE

Real-life cult survival retold with warmth and wit

By Warwick Moffat

Alicia Easteal is fortunate to possess intelligence and wit, for it seems these were needed to survive the tale she is now ready to tell. Easteal was born into the dope-smoking, Shiva-worshipping cult of ‘The Family’ (thankfully no relation to the Manson ‘Family’). Their mystical beliefs may seem like quaint naivety, or perhaps dangerous misguidance: most endeavours of love do.

Originally intended as a documentary, it was impressive to see how this non-fiction story was translated to theatre. In The Family Tree evidence is exhibited in many forms: letters, posters, photos, footage and song. This keeps the proceedings vibrant as the facts unfold. Strictly speaking, this story could quite easily have been told completely via video and voiceover. The challenge for any performer who makes these choices is to justify being in the room.

A less skilled performer may have failed. Easteal was in no such danger. Great care was taken to ensure every exhibit was either self-explanatory or an ideal backdrop for face-to-face explanation. Easteal showed that a film can tell a story, but only the warmth of human conversation can retell it.

The full media release and the program go for the big sell. The release describes a performance with the “…vulnerability of the works of Spalding Gray and the wry humour of Sarah Silverman”. These performers defined their genres. Yes, the set is in the style of Spalding Gray, and follows a similar interpersonal documentary format. Certainly, many of Easteal’s accounts of herself and those close to her are told with dry, self-effacing wit.

However, these comparisons are hard to maintain and such claims were never necessary. There is a unique voice here, with something intriguing to tell and a valid philosophy. The openness shown when describing some horrendous circumstances gave an intimacy to the show which never left me feeling like a voyeur. Recounting foolishness from brave people and bravery from fools, The Family Tree succeeds in humanising those we too easily dehumanise. If you enjoy creative non-fiction or are interested in social affairs, this gracious offering within the intimate La Mama space will illuminate and entertain.

Dates:

Wed 5^th March to Sunday 16^th March.

Times:

Wed, Fri, Sun at 6:30pm. Thur and Sat at 8:30pm.

Venue:

La Mama Theatre, 205 Faraday St, Carlton.

Tickets:

$25 Full, $15 Concession.

03 9347 614203 9347 614203 9347 614203 9347 6142 or online at www.lamama.com.au

Cash sales are available at the on-site box office unless sold out.

Events, Music, Review, Whats On March 1, 2014March 1, 2014

REVIEW: Nick Hedger’s PLAYGROUND

An eclectic collection from an exciting young composer

By Narelle Wood

Playground is a collection of songs by the very talented Nick Hedger. Whilst some of the songs, such as those from Hedger’s much talked-about one-man cabaret show Crap I Found in My Room, have obviously been worked through a number of times, this musical collection also showcased some of his newer work including songs from HomeSick and Conditions.

Playground’s ‘players’ consisted of an experienced and talented cast including Kerrie Anne Greenland, Brent Hill, Andrew Hondromatidis, Erin Kennedy, Emily Langridge, Ben Nicholson and Nick Hedger himself. Given the experience of the cast it was honestly hard sometimes to work out whether the occasional off note, which was mostly noticeable during the harmonies, was first-night nerves or a result of Hedger’s sometimes unusual, but workable, musical arrangements.

The musical numbers showcased Hedger’s ability to write everything from comedy, to ballads, to creepy tunes about the Pied Piper taking his revenge. While there were some clear themes to songs from the same musical works, without reading the explanation in the program many of the songs lacked context making it difficult to ascertain what was going on. This was especially the case where the songs made overt references to storylines and characters from particular shows, and was further compounded by the show jumping from musical to musical. That been said, the show did have an overall balance between the musical genres it presented.

The standout moments of the night were provided by those pieces that were written or performed with comedic intent: “Golden Rule”, “Playa” and “Is That What Makes a Relationship?” On the creepier side of the comedy was the performance of Hondromatidis, Nicholson and Hill as three witches back from the dead in “Back in Salem”; this was disturbingly entertaining in the only way watching three grown men menacingly sing “we’re coming for your children” can be.

It has to be said that Hedger’s ability to tickle the ivories stole the show, especially during the piano solo from “Bit of a Feelin’”. Whilst some of the ballads were a little over-sentimental, I would be very eager to see more of Hedger’s work: this is a musical mastermind in the making.

Venue:Chapel off Chapel, Prahran

Season:Saturday 1^st March 8pm, Sunday 2^nd March, 6.30pm

Tickets:$30 Full | $25 Concession

Bookings: chapeloffchapel.com.au/ticket-sales/

Events, Performances, Theatre, Whats On February 28, 2014February 28, 2014

REVIEW: The Australian Shakespeare Company Presents WUTHERING HEIGHTS

Passions run riot at Rippon Lea

By Kim Edwards

Emily Bronte’s classic story Wuthering Heights under the stars and in the historic gardens of the Rippon Lea Estate is a beguiling prospect, and this production is both stylish and polished.

With a script by Vince Foxall and direction by Greg Carroll, the torrid tale of Heathcliff and Cathy’s infamous relationship is unleashed among picnic hampers and lawn chairs, and as darkness fell, the night grew chill, and the wind ruffled the cast’s flowing skirts and shirts and the blankets over our knees, the atmosphere for the dark developments of the second act was delightfully apt.

Adapting Bronte’s sprawling problematic novel into a slim and sleek two-and-a-half hour performance is an impressive task, and there is much to admire here. The doubling of characters is well-wrought by a versatile cast who keep the complex genealogy remarkably comprehensible. The multiple narrators are adroitly managed, designer Glenn Elston has worked wonders with a limited lighting rig, and the beautiful sparsity in set and staging is highly effective.

Since the plot is remembered in popular culture as a determinedly romantic and fervent love story, the simmering sexual tension of the novel is understandably made explicit here: some characters are surprisingly handsome, relationships like that of Hindley and Francis and young Heathcliff and Cathy are slightly oddly romanticised and highly sexually charged, and much of the novel’s overt violence is discretely downplayed.

Less successful though for this production are some uneven accents, and the fever pitch at which all the characters are played. Although Bronte’s text is both epic and poetic, the Shakespearean-style proclaiming and frantic dialogue pace is sometimes disconcerting and deprives some of the minor characters of their normalcy and dignity and calmness that is needed to keep the plot’s passionate love triangle grounded.

Spencer Scholz finally remedies this with the quiet gravity of his older Edgar Linton, and his superb characterisation of the brutish but endearing Hareton, while Ciume Lochner works hard to capture the caprices, charms and exasperations of both Cathies. Michael Wahr becomes a pleasingly grim and bitter Heathcliff, and handles the transformation from outcast child to vengeful gentleman with skill.

Wuthering Heights is a very enjoyable evening’s entertainment, and if the imposing backdrop of the mansion is disappointingly unacknowledged in this production, there are torrents of drama and intrigue and an excess of love and hatred to keep an audience engaged. Dress warmly though, for the wuthering is highly realistic…

DATES: 17 February 2014 – 13 March 2014
WHEN: Monday to Thursday at 7pm (no show Monday 10 March 2014)
WHERE: Rippon Lea House and Gardens, 192 Hotham Street, Elsternwick
TICKETS: Adults $45, Conc $40, Groups 10+ $40, Children 5 -15yrs $25
BOOKINGS: www.shakespeareaustralia.com.au or Ticketmaster

Comedy, Events, Performances, Theatre, Whats On February 28, 2014February 28, 2014

REVIEW: Parallelogramophonograph

Farce with finesse

By Warwick Moffat

Parallelogramophonograph (or Pgraph for short) are an improvised theatre troupe from Austin, Texas. All four members are experienced players, having established local reputations both individually and as a group. With a weekly show back home, Pgraph have developed a number of themes or ‘formats’ to keep their improvised plays fresh. It would normally be my duty to at least loosely describe the plot, but I am happy to assure you this show will definitely be different every night. Their French farce format is a delightful excuse to allow the silliest sense of humour to almost mask what is clearly a deep appreciation of surrealist theatre.

The makeup and costume help pull off this very clever trick. What you see is four eighteenth-century French fops a-la-Tartuffe with plenty of pancake, rouge cheeks and dramatized speech. What you get is a nineteenth-century plot of middle-class listlessness, ambition and intrigue.

AND improvisation. There is no hint of any preparation, apart from the French farce style and some extra costumes backstage. Quite obvious mishaps such as a slip of the tongue or accidental contact become the basis for key changes in the story-line. There is also a charming ability for the players to allow themselves to highlight the ridiculousness of how the show is progressing without stepping completely outside it.

This work is only possible through talent, practice and teamwork. Valerie Ward artfully weaved insane ramblings with helpful plot developments. Roy Janik gleefully provoked pity and laughter from the audience in equal measure. Kaci Beeler freely adapts to anything her colleagues throw at her. Kareem Badr particularly shone as the authority figures who lacked any true authority.

The name Parallelogramophonograph suggests an absurd but smoothly crafted muddle of things that only brave people would try to combine. In the case of Pgraph, the name does say it all: both improv and play, masterful and wacky, clever and slapstick, worthy and entertaining. The Butterfly Club with its eclectic furnishings and expertly mixed cocktails is this talented troupe’s natural Melbourne home-away-from-home.

Dates:

Wed 26^th February to Sunday 2^nd March.

Times:

Thurs, Fri, Sat at 7pm. Wed and Sun at 6pm.

Location:

The Butterfly Club, Carson Place (off Little Collins Street), Melbourne CBD.

Tickets:

$23, $20 Conc, $18 Group (8+).

03 9663 810703 9663 810703 9663 810703 9663 8107 or online at www.thebutterflyclub.com

Events, Performances, Review, Theatre, Whats On February 22, 2014February 22, 2014

REVIEW: La Mama Theatre Presents THE PLAY’S THE THING

The Bard has a lot to answer for…

By Beth Cregan

Take one young, intense actor (Louise O’Dwyer) totally committed to perfecting her craft (she’s earnest in that ‘bring own thermos of tea and sandwiches’ kind of way!) Add an experienced, caffeine-powered matriarch (Maureen Hartley) who’s been around the traps. She’s seen it all but more importantly, she knows it all too! Mix in a tired theatre director, (Peppa Sindar) who would love her job, if it wasn’t for the damn actors.

Cast all three characters in a performance, add a misplaced techie and an absent writer to take the flak and you have the makings of a playful drama set in the theatre world. From hilarious warm-up exercises to well-worn power plays, The Play’s The Thing shines the comic spotlight on what happens when words (and egos) collide. Thankfully, despite the conflict and constant coffee breaks, Shakespeare wins out in the end.

Clever writing and superb characterisation create this dialogue-driven drama. Set at La Mama’s Theatre, the close proximity of actors and audience help create the ‘fly on the wall’ intimacy that works so well for this comedy. Louise O’Dwyer and Maureen Hartley pair beautifully in this play and their strong characters certainly bring the script to life. Defined in opposition, their need to control ‘their patch‘ keeps the tension tight. Peppa Sindar as the Director skillfully balances the energy between them. Mind you, her character could circumvent a fair amount of the drama by stepping up to the plate a little sooner, but then we’d miss out on some classic and memorable scenes like Dwyer’s vocal warm-ups and Hartley’s demonstration of physical theatre.

This talented cast of actors not only earn the audience’s laughter, but they work seamlessly to perform a multi-layered, complex play within a play. Written and directed by Brenda Palmer, you won’t need any inside knowledge of the theatre world to enjoy this performance. You’ll recognise these characters anywhere.

The Play’s The Thing is playing at La Mama Theatre from February 20 – March 2, 2014. Tickets available online at http://lamama.com.au/summer-2014/the-plays-the-thing/

Events, Musical Theatre, Performances, Review, Whats On February 22, 2014

REVIEW: Theatre Works Presents PACIFIC OVERTURES

Sondheim, samurai, and scintillating theatre

By Bradley Storer

Out of nowhere a figure dashed onstage, the lights suddenly cutting out accompanied by a sudden strike of the drum. The lights slowly return to reveal a painted emblem emblazoned on the floor of the stage, the ensō – the Buddhist circle which expresses the moment of creativity uninhibited by the conscious mind. Into this symbolic void enters the ensemble of Pacific Overtures, clad entirely in white, taking their places around the ensō and beginning their first song: a choral ode to the cyclical serenity of feudal Japan, undisturbed by the outside world.

Pacific Overtures, one of Stephen Sondheim’s more modest and lesser-known masterpieces, is an imaginative exploration of the moment in history when Japan was first forced into contact with Western civilization. Sondheim’s score, a minimalistic collection derived from the structures and principles of Asian music, is a distant cousin to the operatic scope of his work before and after, but is nevertheless a theatrical tour de force.

The cast are so strong both dramatically and vocally that it is extremely difficult to pick an outstanding performance. As a whole they perfectly capture the stylized but intensely emotionally and characterful style of kabuki theatre, and in their individual solos they all unveil beautiful and powerful voices – in the ensemble numbers they blend together in wondrous harmony. The closest would be Adrian Li Donni as Kayama, the samurai whose meteoric rise to power and subsequent corruption strings the plot together both narratively and emotionally. Donni’s open and expressive face (along with a golden singing voice) flawlessly captures the innocence and good nature of this warrior catapulted into diplomatic office.

Director Alister Smith, along with choreographer Michael Ralph, have done an exemplary job of building the striking dramatic images that make up this epic tale. A terror-stricken mob of villagers gathering as they spot the oncoming American armada, a hilarious pageant of prostitutes preparing to welcome American sailors, a traditional Kabuki dance exploding into a demented vaudevillian cake-walk danced by a demonic Uncle Sam. In a quieter moment, the song ‘Poems’ spins together the heart-meltingly lyrical tenors of Donni and Nick Simpson-Deeks into a sequence of heart-ravishing loveliness.

This production of Pacific Overtures is a seamless meeting of dramatic intensity, musical beauty and compelling story performed by a highly skilled company of actors and handled by an endlessly inventive creative team!

Venue: Theatreworks, 14 Acland St, St Kilda

Date: 19 Feb 2014 – 09 Mar 2014

Time: Tue to Sat 7.30pm, Sun 5pm

Preview: Wed 19 Feb 7.30pm & Thu 20 Feb 2pm

Price: $39 / $35 8+ / $29 conc

Bookings: Online at www.theatreworks.org.au or phone 03 9534 338803 9534 338803 9534 338803 9534 3388

Events, Review, Theatre, Whats On February 20, 2014

REVIEW: Bitten By Productions Presents BELOW BABYLON

Society’s seedy underside smoothed over

By Narelle Wood

Below Babylon by Gabriel Bergmoser promised to be a gritty and fast-paced play looking at the morality of the underworld; however it wasn’t quite fast enough and had potential to be far grittier.

The play is set in a low-life bar in the alleyways of a cartel-run town from which there is no escape. Harry (Christopher Grant), the barkeeper and moral compass of the show, attempts to save his eclectic patrons, whether it is the young prostitute Lila (Nalini Vasudevan) or the wayward ex-cartel assassin Lincoln (Justin Anderson). Other assorted characters such as Mac (Hamish Buchanan), Clara (Dhania McKechnie) and Chloe (Melissa Howard) come and go in an attempt to thicken a plot based around Lincoln waiting to die.

There were a couple of inconsistencies in both setting and character portrayal that made the dystopian atmosphere a little hard to believe. For instance, the bar seemed far too clean, Lila seemed far too at ease with working the apparently dangerous streets, and Harry, who was pursuing a quieter life, was far too eager to involve himself in other people’s business. The inconsistencies in characterisation were perhaps highlighted by the wealth of experience Anderson and Buchanan each bought to the stage, both delivering completely believable performances. Likewise, what was lacking in the bar was highlighted by the impressive attention to detail in creating the right atmosphere through soundtrack, lighting and the use of props, especially the cap guns and fake-blood.

The show was completely stolen by Steve Young’s portrayal of Reagan, who epitomised the saying ‘honour amongst thieves’, and this gave credible motivation to his violent outbursts and demands of respect. Reagan’s sometimes-playful, sometimes-sinister banter with the other characters provided the tension that was lacking in the first half. The clear purpose of Reagan’s character in the plot meant that I found myself connecting with him more than any other character, and consequently I found myself wishing that evil would triumph.

Below Babylon was perhaps a bit more charcoal than noir, but if dystopian worlds are your thing then it is definitely worth a look.

Venue: Revolt Theatre, Kensington

Season: 7.30pm 19^th February until 1^st March (no shows Sunday or Monday)

Tickets: $25 adult

Bookings: www.revoltproductions.com/melbourneevents

Circus, Dance, Events, Performances, Review, Theatre, Whats On February 14, 2014

REVIEW: Kage’s FORKLIFT

Femmes ex machina

By Tania Herbert

What to do on a summer’s night when Melbourne is covered in a haze of bushfire smoke? Clearly some rather disquieting contemporary performance art outside at the base of the Arts Centre.

The audience is ushered into a construction site set with a back drop of the Arts Centre spire, and tech crew are cleverly perched around the set in their construction worker fluros. A long lead-in of banter and set-exploration with some very light humour by the protagonist female forklift driver (Nicci Wilks) left a full house quizzically wondering what exactly they were in for.

When the forklift arrives complete with a pair of mannequin-esque women (Henna Kaikula and Amy Macpherson) sprawled across it, the show quickly shifts into gear. The obscure storyline appeared to be based around elements of the forklift driver’s simple worklife merging into a dream-like world the suggests a contemporary Alice-down-the-rabbit hole.

An intensely physical performance, the contortions, dance moves, circus stunts and incredible balancing were interwoven with the movements of the forklift in a mesmerising and terrifyingly dangerous spectacle of movement. The sound track, composed by Melbourne local Jethro Woodward, punctuated the ever-shifting world and gives an eerie, almost steam-punk feel.

As the performance continues, and people wandered past the outdoor stage, a ‘fishbowl’ effect added to the disquiet, with theatre-goers on their way home finding a perch on any place where they could catch glimpses of the performance.

The piece is all that is feminism, with strong, powerful, changeable women completely in control of their art. And yet, it is all that is not, as our rather stereotypically ‘butch’ female lead is gradually converted into a sexualized, scantily -lad lipstick-wearing version of her former self.

Unique, bizarre, and utterly enthralling, Forklift defies definition. It’s kind of circus, kind of contemporary theatre, kind of dance… and yet none of these things. Forklift is oh so very Melbourne, and for a very different kind of “pop up” art, KAGE is certainly a group to keep an eye on.

Forklift is playing at Arts Centre Melbourne at the Theatres Forecourt

Wed 12 – Sun 16 February – 6.30 and 9pm nightly

Bookings: www.kage.com.au/book-tickets

Events, Musical Theatre, Performances, Review February 13, 2014February 13, 2014

REVIEW: Lucy Brien and Matilda Dixon Smith’s DEVOTED – A MUSICAL

Grease isn’t the word…

By Ross Larkin

Funded with campaign entity Pozible, Matilda Dixon-Smith’s contemporary take on 1978 musical Grease (this production was originally titled Grease: A Tragedy – later changed for legal reasons), Devoted is an intimate yet potentially alienating experience, not dissimilar from attending a party where one might feel included but, at times, ostracised.

Staged in a music venue, the curious space, in which the action occurs on the outskirts of the centrally placed audience, usually works well in providing an affectionate environment where one feels part of the story.

Re-imagined as, what feels like, a combination of Grease, Romeo and Juliet and Brokeback Mountain, Devoted charts the young love of Daniel and Sally played by Zak Pidd and Hannah Denison. Daniel’s love for Sally is compromised by his feelings for best pal, Nick (Eamonn George), while Nick has impregnated Raff (Sera Duff). After some endearing encounters and stacks of awesome original music by composer and MD Lucy O’Brien, the love square eventually turns sour with tragic consequences.

Utilising the garden of the Northcote Social Club, where actors play through glass windows works beautifully, almost filmic in feel. Other scenes require the audience to turn 360 degrees to focus on the action, keeping the pace active save for some clumsy blocking hindering sight lines.

This is, perhaps, why director Justin Nott opted to endow the entire cast with radio microphones for both song and dialogue. Sadly, however, this was a mistake. While being appropriate for certain musical numbers, the otherwise cosy and interactive context was far from requiring amplification, sometimes depleting ones bearings and detracting from the engagement of plot and emotion.

Thankfully, Pidd plays Daniel with commitment and charm, providing much of the show’s laughs and sincerity, while Duff is attitude personified and Kelly Cupo as Penny has a singing voice to die for and presence to match.

Accentuated by excellent songs, Devoted generally makes it difficult not to feel included in the colourful ‘party’, and engaged in this often funny, tragic story. Emerging young talent of this ilk deserve their efforts to skyrocket and hopefully grace larger spaces where microphones will suit just fine.

Devoted: A Musical played last night at the Northcote Social Club, 301 High Street, Northcote. Future performances to be advised.

Cabaret, Cabaret Review, Events, Performances February 10, 2014February 10, 2014

REVIEW: Sophie Miller in TIT ON A PLATE

Award-winning cabaret show isn’t for everyone

By Jessica Cornish

Last night I ventured through the ridiculous heat down to my beloved Butterfly Club, to see people’s choice award winner of the 2012 Short & Sweet Cabaret Festival, Sophie Miller. Miss Miller starred in the one-woman 40-minute cabaret, accompanied only by her keyboard and two glasses of wine.

I always admire people who put in the extraordinary effort to create their own cabaret shows- and have the guts and drive to perform the piece to the public. And as much as I admire that, I hate to say it but Tit On A Plate just didn’t do it for me. I mean I can have a laugh at the misfortunes of others just as well as the next person- but some material just made me a bit too uncomfortable to enjoy. For instance, comparing Channing Tatum to someone who reminds you of a person with Down Syndrome, and other remarks about ‘handicapped’ members of our society, was frankly too much for me.

Apart from feeling awkward for most of the show, I’m happy to say I did get to enjoy a couple of comic and creative snippets: I certainly laughed at some of the twitter statuses she compiled into the #fml song when accompanying herself on a i-pad version of a keyboard. There was also a fun guided meditation that asked its audience to float off into their imagination at some beautiful seaside- just as long as it wasn’t St Kilda beach, which was pretty amusing for the locals.

Sophie had a strong and appealing speaking voice, and engaged her audience well through her short monologues, but this same presence was lost in her songs. Her singing voice seemed quite weak and lacked strength and control. The overall show also seemed like a random scrapbook of different ideas that had been cut and pasted together. I feel that I didn’t really come away with any understanding of her life as a person, or her experiences. Nor was there a any type of storyline or theme woven through the songs or mildly linking everything together. Even the title of the show Tit On A Plate had absolutely no relevance to the performance as Miller admitted herself in the opening couple of minutes.

However, there were a couple of girls sitting across the aisle from me, and were in stitches the entire show. In fact they were enjoying it so much, I sometimes found it hard not to watch them instead of Sophie. So clearly it just wasn’t a show for me – but for some, as her people’s choice award would also attest, Tit on a Plate was clearly beyond hilarious.

Ticket Price:
$20 Full
$18 Concession
$18 Group (8 or more)
Dates: Tues 4th to Sunday 9th Feb
Time: Thurs, Fri, Sat at 9pm, Tues,Weds,Sun at 8pm
Venue: www.thebutterflyclub.com