Category: Events

Events, Performances, Review

REVIEW: THE ULTIMATE VEGAS SHOW

Plenty of glitz

By Myron My

The Ultimate Vegas Show is a night of magic, illusion, circus, songs, dancing and music. It’s got all the ingredients for a brilliant and captivating show, yet, sadly this experience left me feeling underwhelmed and wanting to head back to ‘Melbourne’.

The Ultimate Vegas Show.jpg

Host/MC David Cotter did pleasantly well with his Dean Martin impersonation, but that’s all there was to it. Cotter’s Martin did not possess enough dynamic stage presence or charisma to keep the audience strongly entertained and generate excitement about the upcoming acts, although perhaps in a more intimate setting as opposed to the expansive space of The Palms, he might have had more of an effect.

Among the performances themselves however, producer Michael Boyd‘s magic and illusion act was definitely a showstopper, with some of his tricks defying logic and eliciting a lot of delighted “How did that just happen?” from the audience, especially the charming one involving his loyal sidekick, Thurston the Duck. Similarly Spain’s Duponte Nicole with his clowning and mime act was perfectly timed and his finale had everyone gasping with amazement and laughter at the same time.

The inherent problem with this show was filling all the space between these two mentioned acts. While the vastness and glitz you expect from a Vegas experience was present, I felt it lacked the heart and real sparkle to really draw the spectators in and take them along for the ride (although many of the older women in the audience would disagree with me judging by their enthused and emotional reactions to Elvis impersonator Marcus Jackson‘s vocal numbers). Furthermore, the dance numbers had relatively uninspiring choreography that left me feeling like I was watching a lot of the same routines just with different costumes on.

The Ultimate Vegas Show had potential to be a captivating spectacle on a grand scale. Unfortunately, in its focus to capture the “Vegas vibe”, it seems to have forgotten about capturing all its audience. Maybe it is an iconic example of the showy grandeur of the productions in Vegas – I confess I’ve never seen one so I don’t know – but in this case and for me, I felt what happens in Vegas really should have stayed in Vegas.

The Ultimate Vegas Show was performed at The Palms at Crown Melbourne between 15 – 16 January 2016.

Events, Musical Theatre, Whats On

REVIEW: FIDDLER ON THE ROOF

L’Chaim!

By Narelle Wood

Directed by Roger Hodgman and original choreography reproduced by Dana Jolly, Melbourne’s new production of Fiddler on the Roof is a powerhouse production to kick off the 2016 theatre season.

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Written in 1960’s the drama-filled musical, heralded as the first of its kind, has stood the test of time as its themes of tradition, family, love and displacement are just as relevant today. Set in a small village, Anatevka, Russia, the milkman Tevye (Anthony Warlow) is struggling to provide a comfortable life for his family. This includes his five strong-willed daughters, who Tevye hopes to marry off to suitable men that will provide some of the comforts he can not afford. With tensions brewing and the world changing around them, Tevye finds the traditions of his people being challenged by more than just his intelligent and independent daughters’ ideas on love.

The cast is full of some of Australia’s best stars of the stage. Warlow is joined by Sigrid Thornton (Golde), Lior (Motel), Nicki Wendt (Yente) and Mark Mitchell (Lazar Wolf); the latter’s transformation is so superb that I didn’t know it was Mitchell until I read the program. Warlow is also almost unrecognizable as Tevye, embodying all the warmth and humour of the character, yet Warlow’s presence is betrayed by his unmistakably rich voice.

While Warlow is clearly the star of the show for both his talent and the iconic role, the rest of the cast are just as masterful. The onstage relationship between Warlow and Thornton is endearing and Wendt’s portrayal of the matchmaker is as every bit hilarious as the character is nosey. There are several other exceptional performances in this production. Teagan Wouters (Tzeitel), Monica Swayne (Hodel) and Jessica Vickers (Chava) are all impressive as Tevye’s eldest daughters revealing exceptionally strong vocals.

There were so many moments where I found myself astonished by the talent on stage: Warlow’s rendition of “If I Were a Rich Man” and the ensemble dancers during “To Life” and “Wedding Dance”, for example. However one of the truly standout aspects of this production was the set design by Richard Roberts. Simple and understated but such a clever design concept that allows for such seemingly easy transitions between houses and into the town square.

To be honest, I would have been happy if the performance finished after Act 1 as Fiddler on the Roof had already exceeded all of my expectations; the fact that Act 2 extended this prodigious experience was a delightful bonus. This production of Fiddler on the Roof has certainly set the performance standard for 2016 and it will be a difficult task for others to match.

Venue: Princess Theatre, Spring St, Melbourne
Season: Until 27th Feb, Tues –Sat 7.30pm, Matinees Wed 1pm, Sat 2pm & Sun 3pm
Tickets: From $79.90
Bookings: http://www.ticketmaster.com.au

Image by Jeff Busby

Circus, Events, Review

REVIEW: Batton & Broadway Present THE CLASSICS

Veteran circus performers continue to delight

By Myron My

The popularity of circus shows is certainly rising in Melbourne. Although there are constantly more and more exciting performances being held, the opportunity to see a show with a difference does not always present itself. Presented by Batton & Broadway, The Classics is one show with quite the difference: all the performers are over 50 years old. It is a rare opportunity to see a variety of talented artists unite in doing what they have done for decades, and also to enjoy the reminder that that the older you get doesn’t have to mean the less can you do.

The Classics

Our MCs for the night, Sue Broadway and Debra Batton, share quite the charming camaraderie and their quips back and forth feel spontaneous and natural. I do feel, however, that more time was required for the transition of the acts and the show’s overall stage direction, which often popped that enchanting bubble of wonderment you want to stay in when at the circus. 

The acts themselves are a variety of hits and misses with the opening numbers not really having the pulling power and spectacle you expect from a circus show to draw in the audience immediately. The two sets of trapeze and silks routines seemed like an odd choice, especially when the second acts were nowhere near as strong as their predecessors. With different performers scheduled for different nights of The Classics however, this might not be a regular line-up.

Having said that, Anni Davey and Kathryn Niesche‘s trapeze act was enthralling to watch and provided something quite unique to the evening. The opening act for the second half was also notably enjoyable, with a rendition of Kate Bush’s “Wuthering Heights” that hit all the right notes in its entertainment. Peter Gray‘s clowning and juggling act was immensely fun and quite possibly the highlight of the whole evening, managing to get the whole audience warmly involved with his routine.

There is strong skill and a wealth of experience on display with The Classics, and you can’t help but wonder if the performers are this good in their fifties, how amazing would they have been to watch 30 years ago, and how much could younger artists learn from their combined wealth of experience and skill? Despite the lulls in some of the acts, The Classics is a great opportunity to watch these deservedly classic circus performers show us that they’ve still got it. 

Venue: The Melba Spiegeltent, 35 Johnston St, Collingwood
Season: Until 12 December | 8pm
Tickets: $25 Full | $20 Conc
Bookings: Circus Oz

Events, Performances, Review

REVIEW: Hunted The Interactive Theatre Experience Presents SIDESHOW

Not for coulrophobics…

By Myron My

The circus has come to town, but in the case of Sideshow, this is not a family-friendly – or even a human-friendly – circus. There are powers of darkness, death, murder and spirits from the other world that are part of this troupe and in this immersive performance, it is down to the audience to stop this traveling carnival of horrors from causing doom.

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Sideshow is certainly fun, but I must be honest: there are a number of reasons it unfortunately does not work. Firstly, the experience just isn’t as scary as it proclaims to be and this is bound to be a huge disappointment for its audiences. Apart from our creepy clown friend, there aren’t any frights or tension, unless the constant repeat of people jumping out of the “darkness” and growling at you is where your fears stem from.

The story, while straightforward and entertaining enough, also tends to use too much exposition in its narrative and takes away the engagement or emotional investment the audience may otherwise have felt. Meanwhile, there are scenes or instructions given to us that don’t seem to have a clear purpose: at one point for example, we were told to wear some masks only to have them taken from us minutes later without explanation. There are sadly no twists or turns as the advertising states and there are no choices we have to make throughout Sideshow: we are spoon-fed the story and directed on what we must do. While admittedly this type of immersive theatre requires a strong structure, it also needs to be under the guise that we the participants do in fact control the story.

I feel the setting and ambiance of the circus environment also needs to be developed more fully, as dark-lit rooms and streamers hanging from walls a circus does not make. Some creepy carnival music playing throughout, for example, would have made a huge difference in building up the tension and creating some believability.

I am a strong supporter of immersive and interactive theatre: in making the audience be an integral part of the show, rather than just an observer. The pay-off for both performer and audience is amazing when executed well. While Sideshow misses the mark in the horror and scare-factor and in creating a truly immersive experience, it is still an enjoyable show that will certainly create some fun and get a few laughs.

Venue: Revealed upon ticket purchase but close to CBD.

Season: Until 6 December

Tickets: $43 Full | $35 Conc

Bookings: Hunted: The Interactive Theatre Experience

Circus, Events, Whats On

REVIEW: NICA Presents BORN IN SAWDUST

Wonderfully engaging

By Narelle Wood

This year’s National Institute of Circus Arts graduating artists perform Born in Sawdust, an insight into the world of circus performing and the trainers behind the performers.

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Inspired by former trainer Kostya Ibraguimov, and the stories and dedication of other trainers and mentors, Born in Sawdust follows one circus performer’s dream to one-day work for the famed Monte Carlo Circus. Director Gavin Robin showcases the vast and impressive talents of many of NICA’s graduating students, as artists use trapeze, tumbling, high wires, and some clowning around to add light and shade to this intriguing story.

The performance focuses on the characters portrayed by Adam O’Connor-McMahon, Elke Uhd and Simone Salle, as they form a family within the larger circus family. O’Connor-McMahon is charming; there is something completely endearing about his performance throughout the entire show, regardless of the skills (and there are many) that he is showcasing. While Uhd’s performance of strength and balance on the Cyr Wheel received “wows” from the audience members around me, I couldn’t help but smile at Salle’s joyous, and occasionally insolent, performance as the Fat Clown. The group ensemble work was also impressive, the drunken slapstick tumbling of the Bar Scene looked like the sort of party that everyone would want to be a part of.

But it wasn’t just the story and the skills of these circus artists that made this performance so interesting. Born in Sawdust also makes use of digital projections, provided by students, under the guidance of coordinator Lisa Robins, from Swinburne University of Technology’s Advanced Diploma of Screen and Media. Live performers, live shadows and digitally projected shadows intermingle to provide the most captivating silhouettes and narrative device.

Despite the incredible strength and skill of circus artists, I often feel anxious when watching circus performances, but that was not the case this time. Born in Sawdust took me along on the journey through the sacrifices, injuries, hard work and jubilation of following a dream to join the circus. It is an enchanting circus tale told with just the right mix of heartbreak and humour.

Venue: NICA National Circus Centre, 39-59 Green St, Prahran
Season: Until 28th November, Wed-Sat 7.30pm, Sat matinee 1.30pm
Tickets: Full $36| Conc $29
Bookings: www.nica.com.au

Dance, Events, News

NEWS: The Australian Ballet’s 2016 PROGRAM LAUNCH

Performances to entrance and transcend

By Narelle Wood

I’ve been a subscriber with the Australian Ballet for the last six years and each year I’m left wondering how exactly they will manage to top, or even equal, that year’s season. This was especially the case after the year’s Australian premiere of David McAllister’s Sleeping Beauty; one of the most exquisite and luxurious performances I’ve seen. The 2016 season plans to be just as exciting and enthralling, but for completely different reasons.

Vitesse at The Australian Ballet 2016

The five works have been selected because they in some way encapsulate the transformative nature of ballet, either through stretching the dancers, the audiences or the very idea what ballet should be. The Melbourne season begins with Vitesse, part of the contemporary mix, providing a selection of ballets ranging from the chic and sleek of “In the Middle, Somewhat Elevated”, to the the Edvard Munch-inspired “Forgotten Land” to the speedy and fabulous “Danse a Grande Vitesse”, the performance’s namesake. The 2016’s classical repertoire includes a reprise of Stephen Baynes’ 2012 Swan Lake, an Australian premiere of Stanton Welch’s Romeo and Juliet and the comedic and playful fun of Coppelia.
The showcase piece for the Australian Ballet’s 54th season is John Neumeier’s Nijinsky. It was apparently fourteen years ago artistic director David McAllister first broached the idea of staging this ballet, and in 2016 this finally becomes a reality. Described as ‘a biopic of a legend’, this ballet celebrates the accomplishments and mastery of Russian dancer Nijinsky and his ‘unprecedented on-stage intensity’.

While Coppelia may be the only ballet here with lightness at its heart, the program sounds every bit intriguing as it does transformative. There is no doubt that the Australian Ballet will once again exceed all expectations by taking the audience on a completely different, and at times, unexpected journey. As always, I find it hard to pick what I am looking forward to most; the opulent costumes and sets, the unparalleled athleticism, the stories and music, or the grace and elegance of the dancing. 2016 is promising to be another season of exquisite, and world-class, ballet.

Season: Melbourne season begins 11-21st March
Performance Details: Available at australianballet2016.com.au

Events, Musical Theatre, Performances

REVIEW: Twisted Broadway 2015

“Broadway in a Brand-New Key”

By Bradley Storer

Oz Showbiz Cares/Equity Fights AIDS brought together a stunning ensemble of Australian music-theatre talents last night for Twisted Broadway, a gender-bending re-interpretation of musical theatre’s greatest hits, to raise money for research and developmental programs for people living with HIV/AIDS. The sense of community and giving was palpable, all the performers and creative team donating their time and energy – even the set for the show was donated by The Production Company‘s current show Nice Work if You Can Get It.

2015 Twisted Broadway Hosts_Photo by Kayzar Bhathawalla

Kate Ceberano, one of the evening’s hosts, began the show as a literal MC – the classic character from Kander and Ebb’s Cabaret, spiritedly singing ‘Wilkommen’ and showing some impressive high kicks as she introduced us to the ‘twisted’ male and female ensembles and the Twisted Broadway orchestra, under the direction of James Simpson. She was followed by the glorious tenors of Blake Bowden and Josh Piterman, both bringing lead man charisma to the Jekyll and Hyde duet ‘In His Eyes’, before fellow host Eddie Perfect joined Ceberano onstage to introduce the evening officially.

The first half of the show was dedicated mainly to ensemble numbers, highlights including a cheeky ‘Gee Officer Krupke’ by the female ensemble of West Side Story, a campy male version of ‘Make Him Mine’ by Ed Grey, Alex Given and Drew Weston, a bevy of showgirls accompanying Melissa Langton as she charmingly crooned ‘All I Care About is Love’, a trio of male Lion King ensemblists bringing Motown realness in ‘Little Shop of Horrors’ all the way to Nathan Pinnell leading the ensemble of Anything Goes in a joyous ‘I’ve Got Rhythm’. A few choice solo performances were dotted throughout, Akina Edmonds‘ soulful take on the Schwartz classic ‘Lost in the Wilderness’ standing out in particular.

After a fantastic ensemble opening of ‘On Broadway’ choreographed by Michael Ralph, the second act brought spectacular solos from a variety of performers. Rob Mills hilariously sent himself up in a re-vamped version of the audition sequence ‘Climbing Uphill’ from The Last Five Years, Tom Sharah stole the show with his ‘Don’t Rain on my Parade’, and Queenie van de Zandt brought the audience to their feet in a roof-raising ‘What Kind of a Fool Am I?’. Perfect debuted a charming song from his unseen musical version of the classic Australian film Muriel’s Wedding with help from Casey Bennetto, and the male ensemble delivered a testosterone-charged ‘Be Italian’ led by Mike Snell before Josie Lane closed the evening with a thunderous ‘Goodbye’.

Producers Michael Benge and Kate MacDonald informed the audience at the end of the show that over $50,000 had been raised for Oz Show Business Cares/Equity Fights AIDS, making a perfect end to this marvellous night of music theatre all done in the name of a good cause.

Venue: State Theatre, Arts Centre, 100 St Kilda, Melbourne.
Date: 17th August, 2015
Time: 8pm

http://www.twistedbroadway.com.au/

Image by Kayzar Bhathawalla
Cabaret, Events, Review

REVIEW: Melbourne Cabaret Festival Opening Gala 2015

Glorious beginnings for another promising festival

By Bradley Storer

This year’s Melbourne Cabaret Festival Opening Gala, keeping with the festival theme of ‘Keeping it Fresh’, took place at St Kilda’s new Alex Theatre, with excerpts from fresh new festival acts from all over Australia.

Melbourne Cabaret Festival

Dolly Diamond provided a lovely opening to the show, passing through the audience offering roses while singing a charming medley of tunes from ‘Oliver!’, accompanied by Cameron Thomas, and introduced our host for the evening – musical theatre performer and former Australian Idol finalist Rob Mills. Mills, admitting it to be his first gig as an MC, was a charming and competent host throughout the evening, even having to strike the stage and bring out props with enthusiasm and energy.

Annie Lee shed her usual garb as the eldest of the acclaimed Kransky Sisters to deliver both a touch of glamour and gawky physical comedy to the little-known poetry of the Weimar era in excerpts from her show ‘Lighthouse Berlin’. The Strange Bedfellows, Jacqui Dark and Kanen Breen, stormed the stage to deliver contemporary Weimar-style cabaret with jaw-dropping vocal power and charisma, traversing such territory as a German-language version of ‘Tainted Love’, a new number based around the misdeeds of Rolf Harris all the way to Amanda Palmer’s gutsy anthem for humanity ‘Sing’.

Winner of the Your Theatrics International Cabaret Competition, Noni McCallum, took to the stage next and proved beyond doubt the reason for her win – a ballsy belt with a dry, self-deprecating wit, McCullum narrated the humours of dating past age 30 before ending with the simultaneously hilariously and surprisingly touching ‘Ikea Song’. A capella groups Ginger and Tonic and Suade showcased their trademark exquisite harmonies combined with witty and risqué songwriting, providing viewpoints on the modern dating scene from both feminine and masculine perspectives. Closing the night were the Queens of the City, a drag group whose members entertained the audience with sassy banter, Cher-impersonation and stunning contemporary pop vocals.

The wide variety on show at the Gala aptly displays the variety and breadth of talent, both local and international, that Melbourne Cabaret Festival draws year after year and which bodes well for the festival’s future in years to come.

Date: June 18th, 2015
Venue: The Alex Theatre, 1/135 Fitzroy St, St Kilda
Events, Theatre, Whats On

REVIEW: MTC Presents NORTH BY NORTHWEST

MTC’s masterly salute to the master of suspense

By Rachel Holkner

How will they do the scene on Mount Rushmore? This has to be the question at the front of the mind of any audience member familiar with Alfred Hitchcock’s classic film North By Northwest. In this world premiere production by the Melbourne Theatre Company the film is adapted for the stage by Carolyn Burns in ingenious and highly entertaining ways.

North by Northwest

The story follow the trials of Roger Thornhill, a New York advertising man mistaken for a spy. Following leads and leading chases across several states on trains and planes, through hotels and auction house, Thornhill gradually uncovers a larger plot with higher stakes than a simple case of mistaken identity. High-paced action scenes are interspersed with romantic interludes, all peppered with witty dialogue. One of North By Northwest‘s main attractions: it doesn’t take itself too seriously.

More of a straight reenactment rather than a reimagining, director Simon Phillips‘ stage adaption sometimes holds a bit too tightly to the film. A few (very few) moments do not translate well, and might be a bit odd to anyone not familiar with Hitchcock’s work. Several characters are straight impersonations of the film’s actors, and this was to the play’s detriment. Occasionally it felt as though the actors did not have full ownership of their parts.

The cast of twelve do a spectacular job in taking on the work of a cast of thousands. With the aid of amazing costuming, wigs and headgear by costume designer Esther Marie Hayes it was easy to forget that the woman dining in the train had minutes ago been in a stand-up argument as Thornhill’s mother. Matt Day is excellent as Roger Thornhill, as was Amber McMahon as Eve Kendall, the femme fatale. Many other familiar names bring their strength to the production including Nicholas Bell, Tony Llewellyn-Jones, Deidre Rubenstein and Matt Hetherington. The entire cast deserves high praise for their faultless and energetic work.

However, the show-stealing performance, that which received the most spontaneous applause, laughs and gasps from the audience was the staging. An incredibly creative use of a massive rear-projection screen used with live-action miniatures brings the language of film right onto the stage. Complete with an opening credit sequence nod to the kinetic typography of Saul Bass (titles designer of many of Hitchcock’s films), no opportunity was lost to draw the audience into the play and into the manipulative world of 1950s America.

The audience shared in the glee of the cast as they interacted at frequent intervals with items key to the setting, whether writing notes, pouring drinks or driving tiny cars, these actions were projected to provide close-ups, midshots and moving backgrounds key to keeping the production as close to Hitchcock’s vision as possible. The iconic cropduster scene is gobsmackingly good, keeping us simultaneously on the edge of our seats and in fits of laughter.

I cannot know how much someone not familiar with the film would enjoy this production, however lines which I was merely nodding to as I recognised them, were getting genuine laughs from the audience which would indicate that there is enough clarity and freshness here for all. MTC’s North By Northwest is an amazing achievement. Hilarious, tense and dramatic at all the right moments. You won’t regret seeing this one, it’s sensational.

And as for Mount Rushmore? Well I can’t tell you. You simply wouldn’t believe me.

Venue: Playhouse, Arts Centre Melbourne
Season: Until 20 June 2015
Tickets: $51-$124
Bookings: http://www.artscentremelbourne.com.au

Events, Theatre, Whats On

REVIEW: Sol III Presents THE EXONERATED

Powerful stories from escapees of the death penalty

By Myron My

The death penalty has, and probably always will be, a contentious issue. There will be one side that states you have to pay for your crimes, while the other would say no-one has a right to take anyone’s lives. While no side can be universally claimed as “correct”, the Sol III Company‘s production of The Exonerated will have even the most staunch believer in the death penalty questioning their stance.

The Exonerated

Writers Jessica Blank and Erik Jensen spent the year 2000 interviewing a number of people who had all been wrongfully convicted of murder and placed on death row. After spending years and sometimes decades in prison, these people were later exonerated with Blank and Jensen using six of these people’s stories in this production.

The six actors portraying the exonerated prisoners could not have been better cast. Even with the added pressure of playing real-life people as authentically as possible, each one is able to draw us into their world and have us really feeling what it must have been like for these former convicts. Vuyo Loko and Jordan Armstrong in particular shine in their roles, showing their characters as equally strong and fragile under their circumstances.

Director Andrei Schiller-Chan excels in The Exonerated where, despite having to contend with up to ten people on stage at any time, he has contrived that you are never left overwhelmed with the stories. Schiller-Chan uses the limited space to the fullest in developing how the actors move and interact on stage. In a way, this supports the type of claustrophobic environment that we could only begin to imagine that these narrators experienced from their time in prison.

The death penalty is not the lightest of themes to handle, with productions all too often heading straight for the emotional jugular. In The Exonerated, Blank and Jensen allow those who have experienced the threat of execution to speak for themselves, which in turn allows for the stories we hear to be told honestly, with sensitivity and at a pace where the audience have the opportunity to not only digest all that is happening on the stage, but also to reflect and consider. This is what powerful and moving theatre should be.

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

Season: Until 7 June | Wed-Sat 8:00pm, Sat 2:00pm, Sun 5:00pm

Tickets: $37.50 Full | $32.50 Conc

Bookings: Chapel Off Chapel or 8290 7000