Category: Events

Cabaret, Events, Performances, Whats On

Halloween Horror Unleashed: BLOODLINES – A Gothic Cabaret

It’s only a story…

Imagine, if you will, a cabaret composed of one part the cosmic horror of H.P. Lovecraft. The delectably black ironies of The Twilight Zone. The operatic madness of Lucia di Lammermoor. And the haircut of Justin Bieber. If your mind can conceive of such a nightmarish creation, it might yield something similar to: BLOODLINES – A GOTHIC CABARET.

After emerging from treatment for cupcake-related trauma, horror-enthusiast/formerly-disturbed child Bradley Storer brings with him a collection of delightfully demented tales rightfully destined for consumption on the eve of Halloween.

Unearthing the hidden gems from the crypts of his family history, the serenely sinister Bradley intertwines them with music from dark artists like Nick Cave, Tom Waits, the Dresden Dolls and the Decemberists.

Haunting The Butterfly Club for four performances, this gothic-indie cabaret playfully blends the boundaries between good and evil, past and present, imagination and reality into a sweetly poisonous concoction fit only for an after-dark feast at the dead of the night’s high noon.

Prepared to be amused, enthralled and terrified (often all three at the same time!)

 

Remember: Don’t be afraid.

It’s only a story…   

 

 

Bloodlines: A Gothic Cabaret

Directed by Kim Edwards

Accompanied by Ben Kiley

Venue: The Butterfly Club, 204 Bank St, South Melbourne VIC

Dates: Thursday 27th October – Sunday 30th October

Time: 7pm Thursday – Saturday, 6pm Sunday

Price: Full $22 / Conc $19 / Group (8 +) $18

Booking/ Info: www.thebutterflyclub.com

Cabaret, Cabaret Review, Events, Performances, Review, Whats On

Review: MEL TRICKEY in Happiness 101

Do something that makes you happy!

By Adam Tonking

Happiness 101: Laughter is the Best Pseudo-Science! introduces us to esteemed academic Professor Geraldine Gravis, as played by Mel Trickey, who is here to lecture us on happiness, what it is and how to achieve it as proven through her scientific methods.

Not everything goes according to plan as her logic unravels and her inner yearnings reveal themselves, all for the entertainment of the audience.

This show is a perfect example of brilliantly-crafted cabaret, performed and written by Trickey. It has everything: a clear and engaging story, well-chosen songs to serve said story, a fully-realised character taking us along for the ride.

Trickey commanded the stage from the start, involving the audience – on Thursday night we were quite a small crowd which can be, well, tricky – but she was so charming that we were happy to play along. The left turn the story takes in the middle could have become trite and obvious, but as handled by Trickey was completely successful.

A lot of the humour in Happiness 101 relies on its ability to surprise the audience, and in the interests of people enjoying it as thoroughly as I did, I’m trying not to reveal too many of the details.

The show, however, reaches its pinnacle near the end in an amazing medley where the Professor realises her lifelong dream.  This moment is equal parts hilarious and spectacular, and I almost wish the show had ended at that point – it’s so good that anything after that feels like coming down.

Trickey was excellent in this show. She hits some amazing notes, assisted by accompanist Rowland Brache, who not only played beautifully, but also engaged in some lively banter with his esteemed colleague, much to the audience’s amusement.  Direction by Kim Edwards also deserves applause for making great use of the venue’s idiosyncrasies and keeping the action lively and varied.

I genuinely cannot say enough nice things about this show. Do yourself a favour and get on board. I can’t guarantee you’ll learn anything about happiness, but you will definitely be happier for seeing it.

Happiness 101: Laughter is the Best Pseudo-Science! is on at The Butterfly Club, South Melbourne, from 13th to 15th October at 7pm, and 16th October at 6pm.

Bookings through www.thebutterflyclub.com or 9696 2000.

Cabaret, Cabaret Review, Events, Festivals, Performances, Whats On

REVIEW: Anne Wilson in WHAT I DID FOR LOVE

The content is familiar, but the charm is undeniable

By Adam Tonking

Boy meets Girl. Girl falls in love with Boy. Boy runs screaming. This is how relationships work, right?

This is the premise of Sydney-based performer Anne Wilson‘s cabaret What I Did For Love, a startling exploration of what a girl will do when all she really wants is to be loved, and how far she will go to achieve it.

From the moment Wilson steps onto the stage, her pathos is clear and painful – this is a woman who has loved unendurably, and she’s here to tell you about the men who didn’t understand.

Through a series of eclectic song choices – everything from Queen to Hunters and Collectors, this is the journey of making the same mistake over and over in the quest for romance, and indeed, it seems Wilson will do anything for love.

Wilson is clearly an amazing performer. The story is set out in a series of vignettes, with Wilson shining in every song and making every story personal and convincing. Her lovely voice never loses its control of the material even while she’s breaking down emotionally on stage.

Under the watchful eye of music director and accompanist Steven Kreamer, who provides some beautiful arrangements and stands in for the various cads in Wilson’s life, the words and songs flowed seamlessly into each other, never pausing for laughs or applause, and giving the story gravitas and urgency.

In fact, Kreamer’s awkward smile provides a wonderful counterpoint to Wilson’s manic performance. One of my favourite moments came early on when they sung together in their take on “Hernando’s Hideaway”.

I also admired Wilson’s use of the audience. Audience participation can be tricky and awkward, but with Wilson, she was so open and welcoming that it was easy to speak up and be included in her world, and her charm was perhaps one of the greatest strengths of the show.

While it was frustrating at times to hear about her making the same mistakes with all the men in her life, as an audience member you still wanted to help her not abandon her.

The ending arrives a little neatly and quickly, but provides one of the most honest moments of the show and I found myself genuinely moved.

This excellent show only has one more night, but Wilson hints of a move to Melbourne and the cabaret scene here will definitely be better for it, so I highly recommend rushing to see it to encourage her to stay with us.

Anne Wilson in What I Did For Love is on at The Butterfly Club as part of theMelbourne Fringe Festival, October 6th – 8th at 10.30pm.

Book at www.melbournefringe.com.au/fringe-festival/show/what-i-did-for-love or www.thebutterflyclub.com.

Cabaret, Events, Performances, Whats On

Forget Your Troubles! The Return of HAPPINESS 101

Because EVERYONE needs more  Happiness-ology in their lives!

Having a bad day?

Here’s something to make you smile!

That’s right, ladies and gentleman, our favourite comedy cabaret guru and aspiring academic is back for a second season to remind us that laughter IS the best pseudo-science!

After a debut of feel-good performances and full-houses, Professor Gravis (aka Melissa Trickey) will be back with her lovable cabaret show, Happiness 101, and the good professor promises us it will be bigger, better, and WAY more happy!

It’s guaranteed to turn you from this…

 

 

…to this!

 

 

Mel Trickey, a mainstay of Melbourne music theatre, successfully tuned her talents into cabaret earlier this year, and is delighted to be returning to The Butterfly Club for four additional performances next week.

For fans of the first season, there is rumoured to be some new intrigues and song surprises, along with all your favourite hilarious spoofs of academia, aspirations and ABBA!

So get Glee-ful, sing for joy, and unleash your dancing queen: this show is simply and utterly a great laugh in good company, and a really fun night out!

Come on – get happy!

Happiness 101: A quirky cabaret about ploys for joy, measures for pleasure and practising what you preach.

Warning: Comedy is contagious…!

Written and performed by Melissa Trickey

Directed by Kim Edwards

Accompanied by Rowland Braché

Venue:  The Butterfly Club

204 Bank Street South Melbourne

Dates: Thur- Sun 13-18 Oct

Times: Thur-Sat 7pm, Sun 6pm

Bookings: www.thebutterflyclub.com

Cabaret, Cabaret Review, Events, Festivals, Performances, Review, Whats On

REVIEW: Porcelain Punch Travelling Medicine Show

Porcelain Punch: It’s the pick of the bunch

By Deborah Langley

The Butterfly Club has been transformed from quirky little cabaret venue into a big top for the Porcelain Punch Traveling Medicine Show being performed as part of the Melbourne Fringe Festival 2011.

The show begins in the style of a silent movie before our performers take to the stage to announce our evening’s sponsor (all great shows must have a great sponsor, right?)

This show is sponsored by Porcelain Punch If you haven’t heard of it, you will by the end of the night!

I personally am sold on its medically proven abilities: why, it’s the creme del a creme of health tonics, god bless!

The evening is hosted by two exceptional performers, MC Lenny (Luke O’Connor) & Miss Ellie Mae Rose (Madeline Hudson) who keeps the audience in wonderment as the proof of the punch is explored through the experiences of those who get to try just a sip. 

Hudson is a standout as she sings and accompanies most tunes and performs with the most wickedly expressive face that suits the era to a tee (oops, I mean ‘punch’).

Other highlights have to include when our MCs were able to cure a man from the audience of… (What was it he had? Gangrene?) One sip of the tonic and he was dancing a jig in perfect health.

Audiences are enchanted by some great sideshow characters and their unique approach to the ridiculous.

The ensemble including Alexander Gellman, Emilie Minks, Christy Flaws and Kate Boston Smith bring farcical humor, unique circus skills, hilarious satire and just a touch of magic to the stage in a night of old school entertainment at its best.

True to form, the Porcelain Punch Traveling Medicine Show is a gang of misfits that roll into town to perform their tricks with great enthusiasm and humor.

A brilliant show which I recommend you all brave the cold nights to see, before they blow out of town again.

Dates: Tues 27 Sept – Sun 2nd Oct

Times: Tues, Weds, Sun at 8pm – Thurs, Fri, Sat at 9pm

Tickets:$27, $24 conc, $23 groups 8+

The Butterfly Club, 204 Bank St, South Melbourne

Bookings: www.thebutterflyclub.com

Cabaret, Cabaret Review, Events, Festivals, Performances, Review, Whats On

Review: ANA-LUCIA AND THE BARON (Episode One)

Bring on Episode Two!

By Bradley Storer

Lisa Nightingale returned with one final performance of her sell-out show, Ana-Lucia and the Baron: Episode One, previously seen at The Butterfly Club and brought back as part of the Butterfly @ Trades programme last night. Entering the stage to rapturous applause, Lisa began with an eerie Sondheim-style ode to her most treasured possessions: her precious diamonds (which Ana-Lucia repeatedly tells us she most certainly did not steal from the Baron!). From start to finish, the aptly-named Nightingale held the audience in the palm of her hand.

Playing the deliciously ditzy Frenchwoman Ana-Lucia, Nightingale is shamelessly entertaining in the best possible sense. Ana-Lucia is a saucy and cunning gold-digger in the mould of Lorelei Lee from Gentleman Prefer Blondes, a comparison highlighted by Ana-Lucia’s rendition of the classic ‘Diamonds Are A Girl’s Best Friend’ (here hilariously chained onto Travie McCoy’s ‘Billionaire). Her dubious French origin later provides the basis for a side-splitting Edith Piaf send-up which skewers every French stereotype imaginable. The enormously self-dramatizing heroine returns home while recovering from amnesia brought about by a mysterious accident – in hot pursuit is the dreaded Baron, who may or may not be her former lover. Ana-Lucia is aided during her moments of lapse by her partner-in-crime, Juan Pablo (pianist Trevor Jones) who chimes in at the appropriate moment to trigger flashbacks and lost memories.

Nightingale is a strong singer, her voice ably handling a range of songs from Cole Porter to Lady Gaga. Jones proves an appealing comic partner to her brassy but forgetful persona. Nightingale’s occasional memory lapses (not all of them scripted, I think) were quickly integrated into the comic exchanges between the two players, actually making complete sense in the context of the amnesiac character.

The real strength of the show was Ana-Lucia’s interactions with the audience, cast as the guests at Ana-Lucia’s ‘welcome home’ party. Nightingale engaged the audience in treasure hunts, party games and sing-alongs to great comic effect. She even managed to make a running gag of the continuous stream of late-comers entering the show, who were then forced to come to the front of the stage to receive party bags and hats. With such a strong command of her audience, it’s no wonder this show has sold out three previous seasons.

However, this strength also becomes a weakness at points – beginning with a series of giggle-inducing plot twists, the story meanders towards the middle of the show as the emphasis shifts to audience participation. In particular the inclusion of a Beyonce number, however funny and charmingly performed, seems unnecessary and slows down the action.

This quickly changes towards the finale of the show, ending on a climatic cliff-hanger which promises interesting revelations for Episode Two.

Ana-Lucia and the Baron (Episode One)

The New Ballroom, Trades Hall

Thur Sept 29, 7:30pm

Cabaret, Cabaret Review, Events, Performances, Whats On

REVIEW: TiaJuana and Her Depths of Despair

Musical melancholy but undeniable charm

By Anastasia Russell-Head

“Life is a comedy for those who think, and a tragedy for those who feel… Life is one damn thing after another!”

With these words, we are invited into the sad, lonely world of TiaJuana, accordion in hand, singing a mournful Portuguese song.

Together with her “support group” of community health care nurse (Mel Wishart on clarinet), employment case-worker (Pat Lyons on guitar), and counsellor (Andrew Rankin on upright bass), singer and accordionist Tia Wilson takes us through the gamut of despondent emotion.

All four performers are top-notch musicians, working with a gypsy-inspired mix of tango, Balkan, waltz, and Latino styles, and shifting effortlessly from Nick Cave-esque melancholy to the sinuous melodic shapes of the Middle-East.

The “obligatory drinking song” at the end was a highlight for me, with toe-tapping infectious rhythms and vocal harmonies.

Mention must also be made of the wonderfully desolate interpretation of Newton-John and Travolta’s “You’re the One that I Want”.

Less successful was the attempted thread of narrative connecting the musical items, which often felt slow-paced and lacklustre – the danger with theming a show around the concept of despair and depression, perhaps.

Wilson is clearly a seasoned and confident performer with an excellent sense of comic timing, and I would have liked to have seen more of this pizazz shine through the darkness more often.

For me, this performance was a tantalising musical journey, albeit somewhat lacking dramatically for the whole package to be truly effective.

This show definitely has potential, and just needs a few tweaks here and there. Here’s hoping for a second season! 

 

TiaJuana and Her Depths of Despair for the Melbourne Fringe festival 2011

VENUE:

The Butterfly Club

204 Bank St

South Melbourne

DATES:

24 – 25 Sept

TIME:

5.00pm Sat, 4.00pm Sun

Events, Performances, Review, Theatre, Whats On

Review: MTC’s Production of CLYBOURNE PARK

A funny, confronting and fascinating look at life over the fence…

By Diana Tarr

MTC’s latest production Clybourne Park, the Pulitzer prize-winning play by Bruce Norris, is a frank and honest depiction of the racial tension in northern American cities in the 1950’s and raises the question of what, if anything, has changed in our attitudes in the subsequent years.

In 1959, in the affluent Chicago suburb of Clybourne Park, a white couple is forced to consider the impact that selling their home to a black family will have on the neighbours they are leaving behind.  Fast-forward fifty years, and a young white couple tries to go forward with their plans to demolish the same, though now sadly decrepit, house and rebuild – with considerable resistance from their soon-to-be (black) neighbours.

The set, designed by Christina Smith, included just the right details to send me straight back to the homes and neighbourhoods of my childhood in suburban Detroit: the built-in bookcases, the string dangling from the basement light, even the sound of footsteps on the carpeted stairs.

Each of the superb cast (including Patrick Brammall, Bert LaBonte, Zahra Newman, Luke Ryan and Alison Whyte). portrayed at least two unique characters, though Greg Stone and Laura Gordon produced the most convincing and dramatic transformations in mannerisms, voice and characterisations for the second act. As grieving father Russ and then forthright tradie Dan, Stone gave the stand-out performance of the night, inspiring incredulous belly laughs and shocked silences from an audience that was eating out of his hands from his first bite of Neapolitan ice cream.

There is so much of the familiar in Clybourne Park, which is at times comforting but also self-convicting: not only in acknowledging the awkward relationships and social niceties, but particularly in recognising the people with good intentions who either don’t realise or don’t want to acknowledge how much they misunderstand about the experiences of others.

By the end of the first act, I was mentally kicking myself for even considering that perhaps a few of the arguments for keeping the neighbourhood unchanged might just have a certain logic to them. By the end of the second, I was cringing by how much I recognised myself in the comments and ideals of the yuppie wife, Lindsey (Gordon). But although Clybourne Park acknowledges these feelings of confusion and guilt, it does not seem to try to invoke them – just poke fun at them.

And oh my, what fun it was!

 

Clybourne Park: The Black and White Picket Fence

17 September – 26 October

The MTC Theatre, Sumner

140 Southbank Blvd, Southbank

Tickets: $30 (29 & under); $86-$97 (full)

Cabaret, Events, Festivals, Performances, Whats On

ANA-LUCIA AND THE BARON: She’s Back in Melbourne!

HAVE YOU SEEN THIS WOMAN?

She’s sassy, sexy, extremely dangerous – and totally hilarious!

That’s right, folks: THREE sell-out seasons clearly wasn’t enough for Melbourne’s favourite femme fatale!

With the ever-amazing Trevor Jones moonlighting at the piano as the enigmatic Juan Pablo, that mysterious and fabulous French con-woman Ana-Lucia is back for a final performance of her infamous comedy cabaret in a brand-new venue…

Ana-Lucia and the Baron (Episode One) is part of the special Fringe festival event (Butterfly @ Trades Hall) this month where our gorgeous and glamorous girl will be hosting her own welcome home party, and you and all her closest friends are invited!

 Not that she remembers who you are, of course… or more importantly who she is!

She seems to have lost her memory, but just between you and me, isn’t she being hunted down by the evil Baron, who may or may not be her one true love, over some diamonds that she may or may not have stolen?

So put the date in your diary, pour the champagne, pull out your party shoes (and hide your diamonds!) because for this unique one-night performance, Ana-Lucia herself has promised:

“Zis will be… ‘ow you say?? … a ‘oot!”

Let’s get this party started!

Date: Thur 29 Sept, 7:30pm

Venue: The New Ballroom, Trades Hall, Cnr Lygon & Victoria St, Carlton

Tickets: $24 / $21

Written by Lisa Nightingale
Directed by Kim Edwards
Accompanied by Trevor Jones

Events, Musical Theatre, Performances, Review, Theatre, Whats On

REVIEW: Magnormos presents FLOWERCHILDREN

Welcome to the 60s…

By Maxine Montgomery

Flowerchildren traces the ups and downs of 60s group The Mamas and The Papas, and  recaptures the freedom of an era along the way. This new musical is an engaging journey through the pivotal moments and inner dynamics in the life of the group.

Writer Peter Fitzpatrick has crafted a show that captures all of the success, betrayal, passion and regret experienced by the four singers. The narration element is used well to allow each character to express their take on a particular happening, and then to fit into the scene described.

The central cast were remarkable. Each is a fabulous singer in his/her own right – combined, they created the iconic sound and tight harmonies of The Mamas and The Papas flawlessly. Casey Donovan as Mama Cass was quite the surprise of the evening. I was in no doubt that she could sing the role, but it was fabulous to see her more than hold her own in the company of three seasoned performers. Donovan’s comic timing was apparent (she had the line of the night – I will never again see a muumuu in quite the same way!) and also her ability to give gravitas and commitment to the more heartbreaking moments.

Matt Hetherington was brilliant as Papa John. He gave the role all the charisma and edge required to bring the songwriter to life. His rendition of “San Francisco (Be Sure To Wear Some Flowers)” was, for me, a highlight of the night – his vocals gave the piece sweetness and desperation all at once.

Dan Humphris, as Papa Denny, has a beautiful voice with great range and the technique to use it to his best advantage. I particularly enjoyed the scenes he shared with Papa John – it is clear that the actors have a close camaraderie as this came through on stage. Laura Fitzpatrick as Mama Michelle was perfectly cast as the woman every man wanted. Her final monologue was moving and very affecting.

Mention must go to Jessica Featherby as Jill – she was the right mix of perky and whiny that made you love to hate her.

The set, designed by Christina Logan-Bell, is simple and uncluttered. It meant that the focus was on the actors instead of involved scene changes. Sophie Thomas leads a small, tight band which complements the singers very well.

Flowerchildren is worthy of a very successful premiere season – great music and strong performances put it in the ‘must-see’ category. The season runs till September 10th so get down to Theatre Works in St Kilda for a trip to the 60s.

Tickets available through www.theatreworks.org.au