Category: Festivals

Comedy, Festivals, Whats On

MICF 2016: Adam Hills Presents JAKE JOHANNSEN IS TALKING SHOW

Smooth intelligent stand-up from an international star

By Narelle Wood

The 2016 Melbourne Comedy Festival show starts with a voice-over recording of a conversation between Hills and Johannsen. It seems a little trite, but it does make the point that Johannsen is a stand-up comic, without the use of gimmicks, toys, music or any other prop you can think of: the type of comedian that is becoming increasingly hard to find.

Jake Johannsen is Talking Show

While Johannsen has had tonnes of success and received some high accolades overseas, this is his first visit to Australia, courtesy of his friendship with Hills. Like Hills, Johannsen’s humour does not rely on nastiness or crude jokes: rather, it is old-school stand-up based on a mixture of observations, timing and story-telling that is laugh-out-loud funny. One of the biggest testaments to Johannsen’s talent was the gracious and humorous way he dealt with the very annoying heckler sitting in the back; the comments were absorbed into the show and then he just got on with it.

The main premise of the show is age, mostly growing older, yet it was not just the more mature of the audience that could relate to the anecdotes; there were some truisms for young and old alike. But the show also covered everything from Ugg Boots and their prolific status on Melbourne streets, to male aggression, children, Twilight and social media. I got the sense that most of the material was pre-prepared yet Johannsen’s style is so natural and conversational that he could be making it up on the spot. Either way it worked and he even managed to weave in a few jokes at Trump’s expense, which although perhaps at an easy target, were still meet with an appreciative snicker.

While the Comedy Festival has lots of home-grown humour, I highly recommend a visit to this international act. It’s clever and clean, and there’s something Kramer-esque about Johannsen that makes it a show well worth seeing.

Venue: Greek Centre, 168 Lonsdale St, Melbourne

Season: 7.15pm Tues to Sat, 6.15pm Sun until 17th April

Tickets: Full $27.50 | Conc $23.50 | Tuesdays $19

Bookings: ticketmaster.com.au or comedyfestival.com.au

Festivals, Impro, Whats On

MICF 2016: The Big Hoo-Haa’s CLIFFHANGER

Perfect com fest fun

By Narelle Wood

For 10pm on a Thursday night the downstairs theatre of The Butterfly Club was fairly busy having gathered to see The Big Hoo-Haa’s Melbourne Comedy Festival show Cliffhanger. I quickly discovered that I was a Big Hoo-Haa novice amongst a sea of regular attendees. The audience was super-enthusiastic and so were the selection of the night’s players.

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The premise for the 60-minute show is 5 improvised stories, each stopped at a cliffhanger moment. Each round a story is eliminated until there is only one story left and the audience are treated to the story’s finale. There is one problem though: there are 6 players on stage, so the elimination begins with a rap battle between the two teams, Hearts and Bones, to see which team will begin with the improvisation advantage.

Silliness and laughter prevail as we were treated to stories of murder with The Tuna Fish Killer, the epic battle between cat and helicopter, a romance found and lost on a scooter, a famous five quest to find a sock and a high-seas adventure with scurvy. While each of the stories was highly entertaining, it was the tale of cat versus helicopter that took out the prize of ultimate cliffhanger. And there was a moral to the story too; cats were never supposed to be friends with anything that flies.

With different stories every performance and the possibility of a number of comedic combinations from the Big Hoo-Haa cast the only guarantee is that the show will be funny. The wit and timing of cast members such as Mark Gambino, Candice D’Arcy, Sarah Reuben and Sophie Kneebone were perfectly complimented by the remarkable musical skill of JJ on the keyboard.

The 60 minutes flew by with clever harmless comedy resulting in lots of guffaws and chuckles of delight. But be warned, exposure to this sort of humour may cause repeat attendance.

Venue: The Butterfly Club, Carson Place, Melbourne

Season: 10pm Tues, Thurs, Sat until April 16th

Tickets: Full $29

Bookings: www.thebutterflyclub.com

Cabaret, Festivals, Whats On

MICF 2016: A NIGHT AT JAVA JOE’S

A one-man open mic night!

By Narelle Wood

Set in the iconic San Diego coffeehouse Java Joe’s, musician and comedian Broni brings to the stage a cast of characters the typify the diversity and eclectic mix of performers on an open mic night.

A Night at Java Joes.jpg

Broni plays all the characters from the host Jimmy to disgruntled employee Clare, to creepy Kenny Deez, to George, an old-timer still coming to terms with losing his dear wife Betsy. Each character has a story to tell and a song to sing that embodies their life experiences and personality. While there is a range of musical genres, including something that sounds reminiscent of Norwegian heavy metal band Lordi, most of the songs have a Country and Western lilt to them. And this seems to work, as most of the characters tend to be moaning about small annoyances rather than anything overly significant.

It is clear that Broni has a great voice and is a talented musician. The audience laughed consistently throughout and sounded like they were having a great time, but I felt like I was missing something, an in-joke that no one cared to explain. The jokes were mostly observational but I found myself more smiling in agreement than laughing out loud, which was more disappointing than usual because there is something completely endearing about Broni that made me want to find the jokes funny.

The range of characters were great but I was expecting more exaggerated personalities: all of it was just a little too close to home to be overtly funny; for instance Kenny Deez is a serious sleaze. It also didn’t help that the times Broni approached some audience members for some interaction but received very little from them saw the energy falling momentarily before he was able to turn it around.

The premise for A Night at Java Joe’s is an interesting one and certainly matched with an audience member who understands his humour, this would be a great fun performance. I would have quite happily settled back and listened to Broni play the guitar and sing all night. It’s an enjoyable show, and worth going for the music with some comedy on the side.

Venue: The Improv Conspiracy Office Space, 19 Meyers Place, Melbourne

Season: Until 3rd April, Thurs-Sat 6.45pm, Sun 5.45pm

Tickets: Full $15| Conc $10

Bookings: http://www.comedyfestival.com.au/2016/season/shows/a-night-at-java-joe-s-broni

Cabaret, Festivals, Whats On

MICF 2016: VELVET

Sparkling and sexy disco cabaret

By Bradley Storer

Even before the show began, the atmosphere at the opening night of Velvet was electric. Upon entering, the audience was immediately drawn into the hedonistic disco era through the beats being spun out by music director Joe Accaria on the deck above the stage. The opening image was stark and sudden – centre-stage, a young innocent-seeming man (Brendan Maclean), ukulele in hand and unsure of himself, drawn into the seductive world of a Studio 54-esque dance party filled with bright lights and sequins, the quintessential ‘Boogie Wonderland’, bringing us along with him like Alice down the rabbit hole.

Velvet.jpg

Velvet is not a traditional narrative theatre piece, but rather a variety-show combining music, song, fabulous costumes and incredible acts of acrobatics and aerial feats, held together by the Dionysian atmosphere of classic disco and the incredible charisma of the performers. After the opening Mirko Kockenberger launched us into the spirit of evening with an wonderful character act that combined acrobatics and strip-tease, channelling a sexy and cheeky energy that provoked the audience into a near frenzy.

Fellow acrobats Emma Goh and Stephen Williams would each have their own moments to shine across the rest of the evening, with amazing aerial acts that combined both of their talents, a highlight being their S&M-themed ballet in the air. Performer Craig Reid was quite possibly the biggest scene-stealer of the night: as a short chubby man dressed in sequined lycra, he was not the traditional image of burlesque glamour. But he wowed the audiences with such stunning hula-hoop skills and an impish and utterly joyful magnetism that you couldn’t help but watch him every second.

From the moment Marcia Hines, as the disco ‘fairy godmother’ of the evening, steps onstage she completely commands the audience. She takes centre stage and tears through numbers like ‘Never Knew Love Like This Before’ and ‘It’s Raining Men’ with such authority that you want to bow down before her. Hines is backed up by two wonderful singers, Chaska Halliday and Rechelle Mansour, who dance up a storm and send chills up your spine with their vocals in their own songs.

Maclean as the young man whose journey and transformation loosely ties the show together is completely charming, with a wonderful and emotive voice that truly comes into its own during the show’s more emotional moments. His blossoming into a fabulous disco creature of the night allows him to unleash his own wild stage presence that burns just as bright as that of Hines.

A daring attempt to fuse elements of cabaret, circus and burlesque, Velvet is a massive success, creating a spectacular world that thrills at every moment and is infused with such glamour, sex and excitement that you just want to visit it again and again!

Venue: The Merlyn Theatre, Malthouse Theatre, 113 Sturt St, Southbank

Dates: 23rd March – 17th April

Bookings: Ticketmaster.com.au

Image by Daniel Linnet

Circus, Festivals, Review

REVIEW: Gasworks Presents UNCOVERED

Sleek and sensual circus for Midsumma

By Myron My

After Dark Theatre’s Uncovered would have to be one of the sexiest circus shows I have ever seen, and with its overt intent to explore homosexuality, love and sex, this isn’t surprising. Director and performer Dave Coombs has brought together recent graduates or current students of the National Institute of Circus Arts, and through a number of circus acts, explores the idea of “the first”, including the first encounter with a man and the first kiss.

Uncovered.jpg

The performers – Emily Gare, Alex Jeans, Mark Graham, Nelson Smyles and Coombs – are all committed and enthusiastic and for where they currently stand in their experience, deliver some impressive feats. Jeans’ silks routine and his subsequent double aerial hoop act with Graham are strong highlights of the evening. The latter in particular successfully displayed their talents with their seamlessly moving bodies, and paired with the music, permitted the audience to recall their own sensual experiences while appreciating what was occurring on stage. Smyles’ short but sweet clown act, with his attempts to be the object of someone’s desire, is also a firm favourite. It is very simple routine but it relies heavily on Smyles’ ability to convey vulnerability and hopefulness through nothing but facial expressions and body language.

The music selection is well chosen, with a variety of songs from different genres often reimagined into new forms, giving a fresh feel to many of the acts performed. The direction of the performers is also an accomplished effort, ensuring that the whole space is used effectively and, just like the theme of the show itself, exploring every dark corner and space.

While Uncovered works on exploring these “first times” as individual stories, in order to elicit a deeper and emotional response from the audience, I felt stronger focus on character and an overall story is required. In the beginning, Smyles enters the bar and upon being questioned about his sexuality, states he is straight. One lap dance later, he has now realised he is gay and although this revelation could have been a wealth of inspiration, it is never really visited again.

Uncovered has a lot it wants to share with the audience about being a gay male. While this is a good start, I still felt it needs to build a stronger connection with the characters and what it is being explored. It’s got the talent and it’s got the vision: with a little bit more work, it can find its heart.

Uncovered was performed 27 – 30 January at Gasworks Arts Park as part of the 2016 Midsumma Festival.

Dance, Festivals, Whats On

REVIEW: Paul Malek’s BOYZ

Intense and absorbing new dance work

By Myron My

Your 20s are a time in your life where you finally step out into the wider world and attempt to make sense of it all. For most, it includes moving out of the family home, graduating from studies, and finding your place in life. Easier said than done though. Presented as part of this year’s Midsumma Festival, Paul Malek‘s new contemporary dance piece BOYZ explores what it means being a gay man in your 20s.

BOYZ.jpg

Whilst there is a feeling of frustration and boredom, things begin serenely enough with five males – Jayden Hicks, Samuel Harnett-Welk, Charles Ball, Lachlan Hall and Kurt Dwyer-William – living under one roof. However, the gradual exploration of their sexuality, individuality and how they fit into a society such as ours, has them experiencing new and foreign moments. Malek incorporates some engaging storytelling through his choreography, and the characters the dancers take on maintain a sophisticated depth to them that I rarely witness in contemporary dance.

This is a physically demanding piece that expects much from its performers who are more than able to rise to the challenge, with the menage-a-trios between Ball, Hicks and Hall highlighting this better than any other sequence in BOYZ. Precision timing is required from all three, as their bodies become one but remain in constant movement. The choreography is so intricate that if one arm or one leg is misplaced even for a second, it would visibly disrupt the flow they have created.

There is a strong Dionysian influence throughout BOYZ, for just like the excesses of the Greek God of wine and ecstasy, the moments shared by the characters on stage are highly intense and passionate, whether it be through drugs, dancing, or with each other. Look deeper and you can see that while these events and the transition into manhood can potentially cause harm and tragedy, they can also be viewed as an opportunity for growth and self-discovery.

The choreography is perfectly timed to music by Danish electronic musician, Trentemøller, which at various times sounds like a rapidly beating heart that’s about to explode. The basic and simple set design by Chris Curran, consisting of a white sofa, table and chairs, is the perfect contrast to the frenetic nature of the characters’ experiences, and together with Curran and Hicks’ costuming and Craig Boyes‘ lighting design, create some evocative aesthetic moments.

While the ending is fitting in itself, with the dancers collapsing into slumberous exhaustion from all they have gone through, it is at a much slower pace than the rest of the show, and as such the overall impact of BOYZ lessens. Cutting the length of the finale would still allow for Malek’s desired effect but would also have us remain completely engaged with the piece.

BOYZ is an hypnotic and honest performance piece that, regardless of sex and sexuality, audiences can strongly relate to in appreciating the events and emotions these five dancers go through. From Malek’s perspective, the world can be a big scary place when you’re set free in it, but it’s the experiences we have, both good and bad, that will ultimately decide who we are and how we can find what we are looking for in life.

Venue: Transit Dance, 2/10 Elizabeth St, Kensington
Season: Until 30 January | Wed – Sat 8.30pm
Tickets: $30 Full | $22 Conc
Bookings: Midsumma Festival

Festivals, Theatre, Whats On

REVIEW: Wayne Tunks’ THE GIRLIE SHOW

Funny, engaging and satisfying new theatre

By Ross Larkin

While writer and producer Wayne Tunks’ latest venture, The Girlie Show, is in some respects an homage to pop’s most famous diva Madonna, the play is more accurately a universal story about relationships, pain and self-discovery.

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Directed by Josh Karlik, The Girlie Show revolves around a vibrant group of teenagers in the 90s, who, while queuing to purchase tickets for a Madonna concert, become close friends, bound initially by music and idolisation but ultimately by love and passion.
As the teens navigate their own personal challenges including infidelity, sexuality and the smothering of strict religious parents, the group’s bond widens against a backdrop of song, dance and humorous pop culture references.

Charlotte Fox plays songstress Natalie, who must choose between career and self-worth, while Sam (played by Adam Haylock) deals with a broken family and an addiction to risky habits. Oliver Bailey and Adam Noviello play Jason and Derek respectively, both faced with the conundrum of their feelings for each other versus Jason’s struggle to come out of the closet. Meanwhile, shy and meek Mary (Caitlin Spears) is forced to confront her controlling parents as she rebels against a life of repression.

Fox is particularly excellent (her solo ballad is a highlight), while most of the comical moments are provided by the supporting cast including Tunks himself, who plays Sam’s jovial dad, Tony. Geoff Wallis is hilarious as Vic, a toupee-wearing, sleazy record company executive and also as Jason’s densely naive father, along with his wife, played by Perri Cummings (among other support roles) whose performance and stage presence is strong and engaging.

One of the show’s best moments is a dance number (choreographed brilliantly by Kristen Adriaan-Benton) featuring the whole cast in a slew of outrageous, Madonna-inspired costumes as a centrepiece to the show.

The Girlie Show is a satisfying, coming-of-age mixture of comedy, drama, music and dance whose themes are universal and is, as such, most certainly not just for Madonna lovers!

The Girlie Show is playing now as part of the Midsumma Festival until January 31st, 2016 at La Mama Courthouse Theatre, 349 Drummond street, Carlton.

Tickets via lamama.com.au or (03) 9347 6142.
Festivals, Theatre, Whats On

REVIEW: UNTITLED, OR THE SEAT OF NARCISSA

Faultlessly funny

By Ross Larkin

From the outset, a certain curiosity swells at the prospect of a play with no title, while simultaneously bearing a highly distinct and decided one. This is not coincidental, but rather a sneaky peak into the contrary madness that awaits in writer/director Sofia Chapman’s hilarious new production.

Untitled or The Seat of Narcissa.jpg

Initially a love triangle between three quirky, tenacious women, Untitled, or The Seat of Narcissa quickly evolves to include multiple love-crazed subjects in a chaotic swarm of hysteria while infidelity and passion abound along with music, dancing and poetry.
Penny Larkins is the egocentric and deceitful Viscountess Narcissa, who chews up her lovers and spits them out, all the while demanding the utmost respect and attention.
Falling under her spell are Erica Chestnut as the sassy Duchess of Dullcote and Kate Hosking as feisty go-getter, Baroness of Inverness, while Narcissa’s seemingly dazed and confused servant, Marcello, played by Madeline Hudson, intersects the melodrama with great intrigue.

The humour and wit of Chapman’s writing is immediate and doesn’t stall for a single moment, aided by a strong and energetic cast whose comic timing and delivery had the audience cackling from beginning to end.

Chapman is also responsible for the hilariously witty poetry which merges with the play beautifully, as well as the very fitting and engaging music and comical lyrics. Hudson’s song on the accordion with Hosking on the cello about knowing a Jewish person is a particularly priceless moment.

Add to the mix some wacky and amusing dancing, gorgeous costumes and a slew of double entendres and clever one-liners and the result is a barrel of non-stop laughs, comparable to the likes of Monty Python, Black Adder and Absolutely Fabulous. This is one Midsumma show for the top of your list!

Untitled, or The Seat of Narcissa is playing now at La Mama, 205 Faraday street, Carlton until January 31st.

Tickets available at http://lamama.com.au/ or on (03) 9347 6948.
Image by Annabel Warmington
Cabaret, Festivals, Whats On

REVIEW: Midsumma Presents THE LATE NIGHT SEXY SHOW

Sex and all that jazz

By Myron My

Even though it plays at the not-so-late night sexy time of 8.30pm, you may want to fasten your seatbelts with The Late Night Sexy Show, as you’re going to be in for a bumpy night! Performed as part of the 2016 Midsumma Festival, musician, singer and comedian, Grant Busé humorously explores the wonderful world of sex, sexiness and everything else in between.

The Late Night Sexy Show.jpgBusé enters the stage in a suit, gradually losing one piece of clothing with every sexy song he performs. Between songs, we are treated to some erotic reading material that will have everyone getting a little hot under the collar and spend some “quality time” with Busé in which he calls out questions to the audience and in return, we direct questions to him regarding sex, desire and anything else we can think of.

Talking about the topic of sex can be an incredible awkward thing to do, as is creating a safe and welcoming environment for all audience members regardless of sex, gender and sexuality. Whether it be singing about the perils of car sex or having that connection with someone, Busé’s cheeky sense of humour allows him to build a strong rapport with everyone and therefore welcomes us to relate to his experiences and observations.

Busé has a strong  appealing singing voice which he puts to full use. The variety of original songs he sings and music he plays nicely showcase the range in which he can perform. Much like the show itself, Busé allows sex to be imaginative, emotional and invigorating but also for it to be fun, respectful and not dirty (except in the good way). Even when he takes on a more serious tone with regards to sexual consent and equal marriage rights – in one of the best numbers of the evening, “Hypocrite” – it is executed in a suitably serious yet light-hearted manner, where the laughs are permitted to keep on coming.

At one point during the show, Busé referred to The Late Night Sexy Show as being a “silly, stupid, sexy show”. I would like to add ‘highly entertaining, cleverly constructed, sharply written and full of laughs’ to that description. There’s a reason this show has received sell-out seasons throughout the country and overseas, and with its short run during the Midsumma Festival, I would act quickly on seeing this one. Busé has a burgeoning talent and charm that is very close to exploding onto the Melbourne comedy scene.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 24 January | Wed – Sun 8.30pm
Tickets: $32 Full | $28 Conc
Bookings: Midsumma Festival

Festivals, Music, Performances

REVIEW: Melbourne Festival Presents LAURA MARLING

Warm and winning performance from young international artist

By Jessica Cornish

Draped in plain black linen and hugging an acoustic guitar, award-winning UK artist Laura Marling performed in the beautiful Hamer Hall as a part of the 2015 Melbourne Festival. Her stunning warm vocals filled the venue, complemented by her unobtrusive band mates upstage in the speckled light.

Laura Marling

The night began with a barrage of some of her more intense songs all in minor keys, and these were augmented by the stunning movement and colour splashed across the stage from the clever lighting design. All evening the lighting was vibrant and energetic, constantly changing and employing interesting lighting angles and looks or incorporating use of silhouettes and shadows.

Reminiscent of an intuitive storyteller rather than a mere folk performer, Marling’s songs have a genuine nature and often seem open-ended, never allowing us to predict when they will end, before we experience the sudden abruptness of silence. In between songs she was quietly spoken, and preferred to let her songs speak for themselves rather than explaining how they came to be or what inspired what particular composition.

She performed a catalogue of her more well-known pieces including my personal favourite “Ghost” (though she somehow managed to stumble on the words!) Laura charmingly explained afterwards she was distracted as she was trying desperately not to accidentally sing ‘shat’, which can sometimes amalgamates from the words ‘hat’ and ‘sat’ in the lyrics. She also professed Dolly Parton was a hero of hers (good taste, I have to say) and performed a wonderful cover of ‘Do I ever cross your mind?’ while impressing the audience with her new finger-picking technique, which specifically required the growth of her mutant right thumb nail.

Sometimes the lyrics were a little bit lost in the mix, but her vocal quality was continuously stunning. She has a rich, warm tone that sat nicely above the twangy acoustic guitars, and was a constant pleasure to watch and hear. If she ever comes back to Australia, I will be excited to see what this young British modern folk singer will then have in store.

http://www.lauramarling.com/

Image by Deirdre O’Callaghan