Category: Events

Cabaret, Events, Festivals, Whats On February 1, 2014February 1, 2014

REVIEW: Daniel Kilby is EUROTRASHED

One man’s trash is Eurovision treasure

By Narelle Wood

Eurotrashed: Europe’s Living a Celebration for this year’s Midsumma Festival provides a great opportunity for both Eurovision tragics and newbies to experience first hand Europe’s own version of a tacky television talent show.

The format of Eurotashed follows closely that of the real Eurovision contest: several countries, several songs and usually several artists. However, in this one-man show it was Daniel Kilby’s role to perform the full gamut of genres that these countries offer; everything from ballads to pop to swing, and something from San Marino that has strong potential of turning up on K-Pop.

Kilby’s great trashy performance provided some iconic Eurovision touches and therefore opportunities to take a shot, because Eurotrashed is not just about singing: it’s also about drinking. Amongst my favourite moments were Kilby’s all-white outfit (drink), the creepy over emoting (drink) and the overly enthusiastic French translation (drink – this isn’t strictly in the drinking game rule book, but it should be). I couldn’t help but wonder whether there needed to be a little bit more trash in the Eurotrashed repertoire. For instance there were no costume reveals or wind machines (or cheap pedestal fans) and there was only some subtle sparkle found on Kilby’s glittery converse shoes.

The lack of over-the-top trash did provide a stripped-back Eurovision experience that highlighted Kilby’s ability to sing and dance: talents that are actually optional in the Eurovision contest itself. So with a strong vocal performance and no strange staging effects for distraction, I found myself tapping my foot to the sweet German sound of swing, wishing for a glow-stick to sway during the Estonian power ballad Kuula, and being strangely entranced by Kilby’s convincing rendition of “I Feed You My Love”.

It isn’t exactly clear whether Eurotrashed is targeted at the Eurovision neophyte or die-hard fan, but either way the opportunity to participate in the voting process at the end definitely rounds out the Eurovision experience. I am though a little upset that my favourite song, “Waterline” from the hyped-up-on-red-cordial-Bros-look-alike-Irish-twins Jedward, did not win.

Eurotrashed is a little show, with huge heart and even bigger potential, which left a smile on my face and catchy song lyrics in my head.

Dates: 29 Jan – 2 Feb
Thu – Sat 7pm
Wed & Sun 6pm

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Bookings: http://www.thebutterflyclub.com/shows

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

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

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

Events, Review, Theatre, Whats On November 25, 2013November 25, 2013

REVIEW: Cameron Lukey’s PLAYING ROCK HUDSON

The life and death of a silver screen star

By Myron My

It always seems to shock us when celebrities die. They exude a sense of invincibility that we are not as lucky to own. So when beloved movie legend Rock Hudson died in 1985 from an AIDS-related illness, the grief was on a grand scale. Such was the effect of his death that the US government doubled its funding towards AIDS research.

In his debut play, Playing Rock Hudson, Cameron Lukey looks at how Hudson’s diagnosis affected his relationships with close friends, such as Elizabeth Taylor (Odette Galbally), and also his secret romances and loves. On a deeper level, it also looks at the stigma attached to what was then referred to as ‘gay cancer’ and how Hudson’s diagnosis played a pivotal role in future research into and attitudes towards the illness.

Some of the casting selections are questionable but Bartholomew Walsh as Rock Hudson is truly the perfect choice. He has the smouldering looks and physique of Hudson, and his performance of the character’s inner turmoil and showy bravado is well balanced. There is an old brat-pack Hollywood appeal to Walsh that Lukey was very fortunate to find.

With the cast playing a variety of characters there is every possibility that the story may get lost in the confusion of who is who when, but it works well here for the most part. In particular, Andrew Carolane and Sam Lavery made notable and then lasting impressions with their ability to play the nuances of their different characters convincingly. It is however problematic to have Walsh portray any other character but Hudson. He is our leading man and as such, needs to hold onto that power. Making him switch characters lessened his credibility.

Much of Playing Rock Hudson is told after Hudson’s death and based around a court room with Hudson’s ex-lover, Marc Christian (Shane Savage) seeking compensation for Hudson’s non-disclosure of his illness. I enjoyed Lukey’s direction and there are a number of well-timed and balanced monologues and confessionals by the various people involved in Hudson’s life. The story is elegantly paced and the intrigue and the tension remain constant throughout.

Playing Rock Hudson is a poignant love story of life and death and with the rate of HIV diagnosis’ gradually increasing, it is very much a story that still needs to be told.

Venue: Malthouse Theatre, 113 Sturt Street, Southbank

Season: Until 4 December | Tues-Wed, Sat 8:00pm, Thurs-Fri 7:00pm, Sat 3pm*, Sun 5:30pm

*The November 30 performance will be a benefit show, with half the ticket price going to the Victorian AIDS Council.

Tickets: $35 Full | $30 Conc

Bookings: 9685-5111 or http://www.malthousetheatre.com.au

Events, Performances, Theatre, Whats On November 25, 2013

REVIEW: Tamara Saulwick’s PUBLIC

Daring theatre – in a food court

By Myron My

We all do it. We do it all the time no matter where we are. We watch – ever so subtly, so as to not to be spotted. But what happens when the art of people-watching is brought to the surface? What happens when a seemingly private moment is made public?

As part of the Big West Festival, Tamara Saulwick has created a unique and insightful theatrical experience. Appropriately called Public, the show takes places in the food court of Highpoint Shopping Centre. Provided with a pair of headphones, the twenty “audience members” disperse amongst the patrons of the food court and watch for the performance to begin.

There are snippets of conversation being played out, and it sounds as if the voices are coming from all around you. And then, out of nowhere, I spot a man (Tom Davies) who doesn’t quite appear to belong. His movements are far slower and his gestures more grand than anyone else and I wonder why I hadn’t seen him earlier. Davies is joined by three others performers (Rachel Dyson-McGregor, Nicola Gunn, Diana Nguyen) and we begin to watch and listen as their conversations go from private to public. The performers’ conversations are played out into our headphones, so even though we are not sitting next to them, we can hear every word they are saying.

There are a variety of performances and audiences occurring with Public. We are watching the actors, as are the non-audience members. We are also watching the non-audience members’ reactions to the actors and you can see them subtly trying to glance in their direction and then whisper to their friend about the “strange person” nearby. I also began to feel myself being watched by the non-audience members once they realized that we, the people with the headphones, were somehow involved with what was happening.

It was interesting to unwittingly be “on show”, and without having the ability to communicate or share my experience with anyone whilst Public was occurring, I went through a range of emotions including sadness and a feeling of emptiness that slowly enveloped me. This does not mean I did not enjoy the show, but very much the opposite for allowing me to experience such thoughts and feelings without telling me what I should be feeling.

Despite not being the easiest location to get to, Saulwick’s Public is definitely worth a trip out to Highpoint. This sort of innovative theatre does not happen often, and this is an intriguing and involving experience.

Venue: Riverbank Food Court, Highpoint Shopping Centre, Maribyrnong

Season: Until 1 December | Fri, 5:30pm and 7:30pm, Sat-Sun 2:00pm and 4:00pm

Tickets: $25 Full | $15 Conc

Events, Performances, Theatre, Whats On November 9, 2013December 2, 2013

REVIEW: Neil LaBute’s In A Forest Dark And Deep

The breadcrumbs stop here…

By Myron My

Winterfall Theatre’s production of Neil LaBute’s In A Forest, Dark and Deep is an analysis of human behavior and the ugly side of the human psyche, and an exploration of why we might do the things we do…

Here, a brother innocently goes to help his sister pack up her cabin in the woods that she has been renting out to a student. The evening results in a night of lies, deceit and revelations for both of them.

I’ve now seen two of LaBute’s play this year (Fat Pig at Chapel off Chapel) and I have to admit, I am not a fan. It’s as if he is trying too hard to make his point whereupon he sacrifices authentic character development and creates moments where the story just seems to go in every direction and then can’t get back on track. The prime example is the insinuation that Betty and Bobby’s relationship is not exactly “healthy” and as quickly as this is exposed, it is dropped and forgotten about.

I was especially disappointed with the final few moments of In A Forest, Dark and Deep. It’s a basic rule of modern story-telling: the audience is always going to be two steps ahead of the plot so you need to reveal it as fast as possible or turn the tables. When we have already realised what’s happened, having to then watch a scene play out where we are spoon-fed the truth is frustrating.

Michele Williams and Christopher Connelly are competent and accomplished actors but can’t seem to find the right balance to make these people believable. William’s Betty lacks the sexual confidence needed to be able to do the things she has apparently done and the final reveal just doesn’t seem plausible. She is portrayed as weak and vulnerable throughout when really she must be manipulative and narcissistic. In contrast, Connelly as the misogynistic and straight-as-a-door-nail Bobby is too obvious in all his emotions and ends up being one-dimensional.

This production of In A Forest, Dark and Deep does have its moments but the things that are wrong with the performance and the script outweigh these. It’s not the worst way to spend an evening, but it definitely is not the best.

Venue: The Theatre Husk, 161A Heidelberg Road, Northcote

Season: Until 23 November | Wed – Sat 8:0pm, Sat 4:00pm

Tickets: $30 Full | $26 Conc

Bookings: http://www.winterfalltheatre.com

Events, Review, Theatre, Whats On November 2, 2013

REVIEW: A Murder is Announced at THE COMEDY THEATRE

Prepare to be intrigued…

By Kim Edwards

The queen of crime is being celebrated anew – Agatha Christie’s A Murder is Announced opened in Melbourne this week, and proved to be a deadly and delicious production of this mystery classic.

Leslie Darbon‘s 1977 stage adaptation of one of Christie’s best-crafted novels is excellent, as the charming rambling wander through English village life is sewn up into a taut and witty drawing-room drama. The script establishes memorable and appealing characters with brisk confidence, rolls out the action with energy, and moves swiftly through important exposition, all without losing the actual language and style of the original novel.

It is Darren Yap‘s vibrant intelligent direction here that also freshens up the tale for a modern audience. I admired the delicate balance created between the self-aware humour that poked affectionate fun at the murder mystery genre and the foibles of the characters, and the real suspense and intrigue that held the opening night audience enthralled. I call it The Mousetrap effect – hearing an entire theatre of patrons draw a breath in horrified and delighted unison when a particular dark secret or shocking revelation is revealed…

Overall. the casting is delightful: Judi Farr (with clear homage to the glorious Joan Hickson) plays Miss Marple with wry humour and real charm. Robert Grubb has some trouble reigning in the wonderful gusto he feels portraying the bluff and dramatic Inspector Craddock, but the slight histrionics play off well against the elegant, fluid and nuanced performance of Debra Lawrance as Letitia Blacklock. Libby Munro gives a spirited and beautifully stylish depiction of Julia, Deidre Rubenstein offers superb comic timing as the bumbling Dora, and both Carmen Duncan and James Beck perform with aplomb in the rather thankless roles of Mrs Swettenham and Edmund.

Both Nathaniel Middleton and Libby Munro struggled to keep caricature at bay and their accents intact on opening night, but will no doubt smooth into their roles, while Victoria Haralabidou was a spectacular scene-stealer in the difficult role of refugee housekeeper Mitzi. Agatha Christie’s cheerful racism is always hard to overcome, but neat scripting and Haralabidou’s hilarious and enchanting dedication to her character gave Mitzi an ascerbic wit and vivaciousness that let us laugh with her at the constrained British behaviours and appreciate her more naturalistic emotion and energy.

Starting from $95.00, tickets are pricy for this old favourite, but classic murder mystery is always beguiling and as a Christie devotee, I enjoyed this production as thoroughly as the initiates behind me who were ecstatic the plot twists took them completely by surprise!

A Murder is Announced is playing at the Comedy Theatre until December 4. Tickets are available through Ticketek and online here.

Events, Festivals, Performances, Review, Theatre October 28, 2013

REVIEW: Outer Urban Project’s URBAN CHAMBER – BEYOND

Inspiring

By Tania Herbert

In a time when it can be difficult to even turn on the television without a sea of racist vitriol, what a blessing to be able to witness diversity in all it’s forms coming together in Outer Urban Project’s Melbourne Festival work Urban Chamber – Beyond.

Our thematic host for the evening, poet Komninos Zeros describes himself as a “submerging artist- submerged into a sea of emerging artists”, and we are introduced to two dozen very special (mostly young) people who hail from every continent of the globe.

There’s nothing like a confident, smiling young person telling you “you are all my family” to get a warm buzz to begin an evening, and although initially feeling a little like attending a school concert, the smooth transition of artistic piece after artistic piece soon convinced the audience that they are in the presence of a particularly unique and talented collaboration.

Based around the notion of ‘Home’ as a place and a feeling, Beyond uses a massive range of creative presentation to explore this issue, and explores concepts of age, culture, and diversity to remind us that we are all different, and we are all the same. Beat box, rap, stomp, contemporary dance, classical, poetry, lyrical – and a couple of other things that defy categorisation – were appreciated both together and separately, and the merging of people and genres was inspirational.

Were there flaws? Sure. We’re speaking about young people with varying degrees of training and professional experience. But was there an abundance of talent? Absolutely.

As a not-for-profit organisation, Outer Urban Projects includes amongst its values both respect and courage. I am not quite sure what these guys do to nurture such a warm, engaged, respectful and brave group of young people, but I certainly did appreciate the opportunity to be witness to the outcome.

Whilst it’s a short run of only two nights for the Festival, I would recommend keeping this mob on your radar, as if you are looking for an opportunity to really connect with your art or support a wonderful art-based social cause, this is a great place to start. It may not be one of the showiest pieces at Melbourne Festival, but Beyond really does encapsulate the spirit of the best of Melbourne – diverse, different, and truly welcoming.

Urban Chamber – Beyond ran at the Melbourne Recital Centre on the 25^th and 26^th of October (6pm and 8pm), and do visit the website for more info and check out your options for supporting this lovely initiative.

http://outerurbanprojects.org