Category: Festivals

Comedy, Festivals

MICF presents RockWiz’s Really Really Good Friday

The tongue in cheek way to celebrate the Easter holiday

By Leeor Adar

RockWiz live out of Hamer Hall on Good Friday is exactly the kind of Easter treat I’m looking for – I just wish it had the seedy intimacy of the Gershwin Room in St Kilda’s Esplanade Hotel.

With sell-out seasons in 2016 and 2017, Really Really Good Friday delivers many belly laughs and the antics of RockWiz veterans, Julia Zemiro and Brian Nankervis. It’s an excellent way to start the Easter weekend, with a series of Easter jokes and quiz answers; it’s certainly a tongue in cheek way to celebrate the holiday.

The show begins with a rock quiz for several selected audience members and the top two will sit alongside rock legends in the main leg of the quiz. Joining the talented list of performers on this occasion is Aussie rock legend, Joe Camilleri, The Jezabels’ Hayley Mary, newcomer Alex The Astronaut, Something for Kate’s Paul Dempsey, Gillian Cosgriff and comedian Bob Franklin. RockWiz’s The Orkestra, is accompanied by Vika and Linda Bull, whom serenade and provide musical clues to our panel of artists.

Any given night of RockWiz turns on the unique qualities the performers bring, and 2018’s Really Really Good Friday is no exception. Dempsey blows us away with his voice and music knowledge, Hayley Mary’s wry humour and astonishing vocals give us the much-needed edge of the evening, and Camilleri’s winding tales test Zemiro’s metal as she drives the show on. Standout comedy goes to Bob Franklin and his love of The Wurzels, and Gillian Cosgriff’s musical number on the social media #hashtag-craze. It’s a real cocktail of cool on this stage, and there’s really something for everyone.

I’ve certainly walked away from this 2018 show with a renewed love of certain artists, and others I’ll be keeping my eye on. Do yourself a favour and keep an eye out for some of the Really Really Good Friday comedians featured during the 2018 Melbourne International Comedy Festival, and take a listen to the rest.

I’m certainly keen to see what Really Really Good Friday brings out of the bag next year for another rock-fuelled night.

Really Really Good Friday ran 30 March. For more information see this Arts Centre page.

Comedy, Festivals

Review: A Bit of Shush

Dry wit in a mad world is what Daniel Connell packs into his latest comedy show. 

By Leeor Adar

Rising star of the Australian comedy world, Daniel Connell, returns to the 2018 Melbourne International Comedy Festival with a Bit of Shush. Since 2009 Daniel has brought his humour to our stages, and had a smashing success with his 2017 act, Stacks On. Daniel made his debut performance at the Melbourne International Comedy Festival Gala and was selected to tour Asia and Australia as part of the Festival Roadshow.

Dubbed as ‘one to watch’, Daniel combines the affable larrikin nature of Dave Hughes with the sharpness of Tommy Little. What makes Daniel a cut above most comedians is his ability to make us laugh without giving in to crassness, to which many of his contemporaries give themselves. Although, he does give us a stirring sausage/refugee analysis that could make you cringe as well as admire the genius of its comparative qualities.

From beginning to end, Daniel keeps pace and keeps the laughs rolling with a dry wit that can be enjoyed by all. In-jokes are established with his audience within the hour, and there is a joyful energy in the air. Although the piece is centred on finding ‘a bit of shush’ in this mad world, the direction of the show takes a few twists and turns, but we are happy to go along with it, particularly when Daniel takes us to Elon Musk’s alternate dimension.

Daniel’s show is one of the high quality acts you can come and watch at the Melbourne Town Hall this comedy fest season, so do yourself a favour and see a Bit of Shush.

Bit of Shush plays at The Melbourne Town Hall until 22 April.  Tickets can be purchased online and by calling the box office on 03 9245 3788.

Photograph: Nicole Reed

 

 

Comedy, Festivals

MICF presents The Big HOO-HAA!

The Big HOO-HAA! returns to the Comedy Festival with a duel of dazzling wit.

By Rebecca Waese 

What’s been running every Friday night for 8 years and is still new to the stage every time? It’s The Big HOO-HAA!, Melbourne’s long-standing comedy improvisation battle where the audience’s suggestions prompt two teams of comics to a duel of dazzling wit and spontaneous songs. Usually at home on stage at the Butterfly Club, The Big HOO-HAA! brings a rotating cast of performers to Melbourne Town Hall for opening night mayhem at the Melbourne International Comedy Festival.

This show, (and I saw the late one at 11 pm), was an energetic blast of good-time feels coming at us hard. The format is designed to pit wits and courage of two comic teams, the Hearts and the Bones, against each other, mediated by a Master of Ceremonies/umpire, and fuelled by the suggestions of the audience. The feeling in the room was warm and creative and the MC, last night played by Dan Debuf, created an atmosphere where the audience was part of the magic and never a target.

Photographs: Mark Gambino

In a series of competitive comedy challenges and games, each team put their heart and wits on the line and the audience voted for a winner. There was spontaneous song-writing, scenes that were re-done in different eras, a Charades-inspired challenge of guess-three-things-about-my-perfect-lover, and a pun-infused round of one-liners with instant death elimination. Not every offer was a winner last night, but it was good for the soul to see the performers laying it out there and there were far more laughs than groans from the Hearts and Bones.

Last night, an entire musical about cheesecake arose from an audience suggestion, and the chorus from Louisa Fitzhardinge’s spontaneous ballad of ‘I’m a Milky Girl’ is still playing in my brain. Sophie Kneebone was also a standout; I particularly liked her Scottish brogue that emerged in a Russian communist party scene and her decision to embrace it. Caleb Garfinkel on guitar was a treat to listen to and set a range of musical moods at the audience’s request.

The rules of improvisation were made clear on stage: accept any offer made, commit to your choices even if they lead you to bizarre places and help out your fellow actor wherever you can. This is undoubtedly what led to the outing of an unusual love affair between Milky Ma (Brianna Williams) and her favourite talking cow, Bessie, (Luke Ryan) which will never happen again. Such is the ‘once upon a time’ quality of The Big HOO-HAA! For clever, rapid-fire comedy that makes you feel part of the winning team, head to The Big HOO-HAA! You’ll be glad you did.

The Big HOO-HAA! plays at Melbourne Town Hall until 21 April.  Tickets can be purchased online and by calling the box office on 03 9245 3788.

Rebecca Waese is an Honorary Associate at La Trobe University in the Department of Creative Arts and English.

 

Comedy, Festivals

MICF presents My Comedy Festival Show

Wacky ideas and self-deprecating humour

By Leeor Adar 

Andy Balloch presents, as part of the 2018 Melbourne International Comedy Festival, My Comedy Festival Show. Andy assures us this is not a comedy show, which if we are being honest, is not a comedy show.

Andy is funny, and Andy is self-deprecating. That’s what makes him such a relatable persona, particularly as the show’s content is largely concerned with insecurities. We all have those, right? Andy is no stranger to the stage, as one half of improv duo, ‘The Sparrow Men’, it’s hard to imagine Andy has any insecurities. Andy sure does, and most of the show is segmented by these insecurities, which he talks about with a painful earnestness that has us all transfixed – he absolutely commanded our attention. Nothing is quite as liberating and confronting than being seated a meter away from someone prepared to tell you their worst moments.

The rest of the show (the comedy of it) is more an interspersed montage of wacky ideas. Andy begins the show with a ‘choose your intro’, and quickly it’s established that Andy’s physical comedy is what wins the day, and certainly brings the most belly laughs. Admittedly, not all of the wacky ideas are the belly laugh varietal, and I found myself wanting more of the earnestness of his insecurities.

Andy’s act is worth seeing, but mostly for the connection that he builds with you as an audience. If Andy can connect his humour to his truths, that won’t necessarily deplete from the connection he makes with us. I hope he reboots this concept and gives us more of that self-deprecating humour we saw glimpses of.

My Comedy Festival Show plays at The Croft Institute until 9 April.  Tickets can be purchased online and by calling the box office on 03 9245 3788.

Comedy, Festivals, Musical Theatre

MICF presents Romeo is Not the Only Fruit

A refreshing Shakespeare mash-up that obliterates all lesbian stereotypes

By Lois Maskiell

Another reimagined Shakespeare might not have everyone leaping from their couches to purchase tickets, but Romeo is Not the Only Fruit definitely should convince otherwise. Jean Tong’s latest offering revolutionises the tale of star-crossed lovers, by creating a highly original romantic comedy. Written and Directed by Tong and featuring a cast of queer women of colour, this sharply satirical and heart-warming musical is easily the most refreshing mash-up of Shakespeare I have seen.

Revolving around the “bury your gays” trope, whereby queer characters are often killed off in various media, Juliet (Margot Tanjutco) and Darcy (Louisa Wall) fall in love despite their odds. The couple’s trajectory is witnessed by the dead lesbian chorus (Sasha Chong, Nisha Joseph and Pallavi Waghmode) who are both onlookers and meddling family members. At times they cheer the lovers on, while at others they coerce Juliet towards a heteronormative route. Though, like in all good rom-coms true love prevails as Juliet and her white girl lover overcome the obstacles of conservative parents, interracial romance and of course “dead lesbian syndrome”.

Photographs: Jules Tahan

Tanjutco plays a charming and determined Juliet whose journey in love is mirrored by an arcade game of Mortal Combat. Fantastic sound effects tally Juliet and Darcy’s points as their romance develops. The chorus becomes increasingly involved in the outcome of their relationship, enjoying their clumsy triumphs as well as their spicier moments.

Tong’s lyrics teamed with James Gales’ composition and sound create a quality score with catchy, in-your-face lyrics. Diva powerhouse Pallavi Waghmode’s singing is something to witness in itself, her voice carries the songs with power. Sasha Chong as Juliet’s mother is quick-witted and captivating, and together with the naturally humorous Nisha Joseph, makes half of a strong comedic duo.

James Lew’s set and costumes give the show a kitsch aesthetic, the most innovative example being oversized cardboard drinks that Juliet and Darcy slurp on while watching performance art. All this, with Laura Frew’s pop choreography make this brilliant mash-up of Romeo and Juliet a pleasure to watch. Romeo is Not the Only Fruit challenges conventions and tropes with humour, and there’s no doubt many will leap from couches to see this production before it closes.

Romeo is Not the Only Fruit plays at Malthouse until 8 April.  Tickets can be purchased online and by calling the box office on 03 9685 5111.

 

Festivals, Musical Theatre

Midsumma Presents Falsettos

Treat your ears to unfaltering vocals in StageArt‘s latest production Falsettos

By Owen James

Falsettos presents an honest and often amusing dissection of an atypical family living through ‘70s and ‘80s New York City. The complex score by William Finn winds together the lives of seven people struggling with relationships, family and heartache.

The show is worth a visit for the music alone. Musical Director David Butler has guided the small cast of eight through a score that would give composer Stephen Sondheim a run for his money. I cannot emphasise this enough – the complicated music is executed with beautiful perfection. Lyrics are delivered at the pace of Guns and Ships without a syllable lost, and tear-jerking ballads are handled with love. Treat your ears to unfaltering vocals and note-perfect piano from Butler himself.

Director Tyran Parke has crafted a production filled with honesty and emotion that explores the intersection of morality with love in a disjointed family setting. The natural but playful staging brings laughs and sentiment, and gives the brave characters of this completely sung-through musical space to breathe.

Finn’s score and James Lapine’s book give us quite an antagonistic view of love through couple Marvin and Whizzer, played by Don Winsor and Sam Ward respectively. Winsor’s Marvin struggles with certainty on all fronts – questioning his decisions, circumstances, and sexuality. Ward’s Whizzer (say that ten times fast) is stubborn yet balanced, and dares us to love him. Together the pair explore masculinity and faith in two grounded and moving performances.

Sarah Shahinian’s Trina manages to hold everything together despite disrupted family life. Her flawless and versatile performance includes two highlight numbers – “I’m Breaking Down” and “Holding to the Ground” – which are performed with power and conviction. It’s hard to pull our eyes off Nick Simpson-Deeks as the persistent and self-serving Mendel. Simpson-Deeks brings us an endearing character with warmth, wit, and sublime vocals. The stereotypically troubled psychiatrist comes to life with nuance and affection.

Outsiders-turned-family members Charlotte (Francesca Arena) and Cordelia (Jenni Little) start as the “lesbians from next door” in act two, but quickly become an integral part of this unconventional family. Bright and sweet, the pair bring a much-needed lift in pace to the second act. The role of resilient and lively Jason is shared by Riley Flood and Ben Jason-Easton who alternate throughout the season. The night I attended had Flood, who to be performing at this level at his age is nothing short of phenomenal – with further vocal and stage training, this young performer will go far.

Crisp sound design from Marcello Lo Ricco, simple and colourful lighting from Tom Davies, and era-appropriate costumes from Meredith Cooney help to create the perfect atmosphere for this small show with a big heart.

March along to the quirky and emotional Falsettos, playing a very limited season until February 11th at Chapel Off Chapel.

Prices: $49 – $69
Bookings: https://midsumma.org.au/program/false18
Photo credit: Belinda Strodder

 

Festivals, Theatre

Midsumma Presents AntigoneX

A queer tragedy turned comedy that provokes more questions than answers

By Owen James

Ancient Greece has received a modern makeover in AntigoneX, a self-defined “queer tragedy”. Presented as part of the Midsumma Festival, writer Zachary Dunbar has refashioned Sophocles’ tragedy into a fashionable exploration of sexuality, art and identity. AntigoneX will make you laugh, and make you think.

Directors Zachary Dunbar and Katy Maudlin have created a unique world within which to explore important questions: where does sexuality and gender conflict with identity? Do artists feel a burden from their art? In a world so absurd, where does parody begin? There are more questions than answers, certainly – but this piece provokes discussion outside the theatre doors, as any good theatre should. Even those unfamiliar with the original story of Antigone will connect with these defiant ideas, and particularly Midsumma regulars.

There are wonderful moments of comedy, executed with perfect synchronised movement by the topless Greek Chorus, identifiable only by number. Connor Leach, Leigh Scully, Patrick Livesey, Jim Coulson and Jonathan Graffam bring laughs and atmospherics – they are a perfectly matched group of five. Louisa Wall as Dee Tritus, a washed-up cabaret performer, is our host and confidante, giving us sour comedy, attitude, exposition and explanation.

Darcy Whitsed as Haemon aspires to supersede definition, ready to rock the political boat and defy Uncle Creon (Nick Clark). Their ongoing conflict fuels drama-filled scenes and builds to an explosive conclusion. Phoebe Mason as Antigone and Briony Farrell as Ismene are both strong female leads, presenting witty satire through their characters, who suffer the consequences for being different.

Sets and costumes by Nathan Burmeister are considered and inventive. The stage is framed by crumbling poles, giving a constant reminder of the Greek influence. Dee Tritus’ brilliant rubbish bag dress reflects the trashy personality she exudes.

This show has balls. Beach balls, to be precise. AntigoneX reminds us to be bold in the face of conformity, and strong in times of oppression. The more the individual is compartmentalised, labelled and ignored, the greater the danger of explosion.

Head on down to Theatre Works for “the queerest tragedy you’ll ever see” – running until February 4th.
Times: 2:30pm, 7:00pm
Prices: $25 – $35
Bookings: https://midsumma.org.au/program/antig18

Cabaret, Festivals

Midsumma Presents PO PO MO CO’s Birthday Party Show

PO PO MO CO’s latest production is as queer and as comic as ever.

By Joana Simmons

Extremely smart and wonderfully silly is the expression that comes to mind when describing the theatrical delight that is PO PO MO CO’s (Post Post Modern Comedy) Leigh Bowery inspired Second Birthday Show. It’s easy to see why, since its birth at the back of Hares and Hyenas two years ago, this company’s genius brand of queer neo-vaudeville comedy has been snapping up nominations and awards all over the place. 

The back of the bookstore-cum-performance venue that is Hares and Hyenas is the perfect setting for this quirky, immersive event with performers roaming around in character from the moment the doors open. We meet an eastern European couple, Baba and husband Ganoush who have a bunch of artists in their receptacle that they are turning into performance artists. That’s the thread from one sketch to another, and it’s all we need as each sketch is marked by its own individual brilliance. Stand-out moments include the giant conception to ‘Eye of the Tiger’ and a hilariously tragic look at climate change. Also to be noted is guest performer – Selena Jenkins and her stunning rendition of two songs by Ke$ha – mixing-up the tone of the evening and giving a full experience.

The production was tight and slick, the soundtrack got the audience going and cues were snappy. The costumes – mostly unitards, redesigned duvet covers, and wonderfully camp combinations – added to the absurdity. Lighting in this simple venue was tasteful and provided contrast where needed. The comical PO PO MO CO crew, directed by award-winning vaudevillian and comic genius Liz Skitch includes the talented Kimberley Twiner, Lily Fish, Precious Cargo, David Maney, Claire Sullivan, Anna Lehmann Thomson, Amaya Vecellio and Hallie Goodman.

Skitch has done a top-notch job at creating work that pushes buttons and tickles funny bones whilst packing a punch at the same time. The only lull in the show was after some fantastic audience participation to dress the Leigh Bowery mannequins (what fun!). Its ending and subsequent transition to the next sketch was somewhat clunky. Still, grotesque glamour, tactful truths and queer comedy are laid out for fine-viewing pleasure.

One thing that I love about theatre is how creatives are given a chance to say something. Sometimes I feel this position of power is abused and the work can be self-indulgent, however PO PO MO CO are the complete opposite of this. What they do is so clever, it’s not until the end that we realise how that sketch proves a point. Second Birthday Show presented by Midsumma Festival 2018 is a sweet, social commentary that gets under the skin but feels oh so good. Start your February the fabulously funny way and get a ticket today.

 

Dates: 1 – 3 Febuary
Venue: Hares and Hyenas, 63 Johnston St, Fitzroy
Times: 7:00pm
Prices: $15 – $20
Bookings: https://midsumma.org.au/program/popomo18

 

Cabaret, Circus, Festivals

Midsumma Presents RIOT

Dublin-based company, THISISPOPBABY have brought a perfect mix of outrageous comedy, skill-based acts and quality variety to Arts Centre Melbourne

By Ciara Thorburn

THISISPOPBABY’s latest show, RIOT is everything you expect and everything you don’t. This perfect montage of cabaret, drag, music, dance and circus, mixed with political undertones will leave you both reflective and inspired.

A glittery and sexy opening introduces four mysteriously hooded figures, who soon reveal themselves as RIOT’s talented vocalists (Alma Kelliher, Adam Matthews and Nicola Kavanagh). Spoken word poet, Kate Brennan delivers emotive stories that address diverse subjects from teen pregnancy to capitalism. Her powerful and rhythmical style give us a sense of the raw, reckless ride that we are about to embark on.

Drag artist, Panti Bliss as MC leads us through the evening’s performances in a camp and rowdy fashion. Add a sensitive strongman who defies gender norms (Ronan Brady) to this already spectacular group of artists, as well as a quirky and captivating tap-dance duo (Philip Connaughton and Deirdre Griffin) and the Lords of Strut, and you have one hell of a talented cast. The crowd favourite was easily the former stars of Britain’s Got Talent, the Lords of Strut – if you haven’t heard or seen these guys before, prepare yourselves because what you will see cannot be unseen. In a ruckus of ‘80s dance parody, lycra leotards and homemade mankinis their ridiculousness proves to be absolute genius. These guys really steal the show with their loveable stupidity and impeccable comedic timing.

What stands out most is the cast of diverse, passionate and highly-skilled performers who bring a mashup of specialties together to complement each other delightfully. Too often we see high (or low) budget shows where the performers look exhausted, run down, or like they would prefer to be somewhere else. Every act in RIOT brings a fresh performer to the stage boasting peerless energy and incomparable talent.

Dublin-based company, THISISPOPBABY have brought a perfect mix of outrageous comedy, skill-based acts and quality variety to Arts Centre Melbourne as part of Midsumma Festival 2018. RIOT is a pro-queer, pro-fun, pro-friendly spectacle where anything goes and anything can happen. It’s an absolute delight of a show and a great night out with your boyfriend, girlfriend, or both.
Dates: 31 January – 9 February
Venue: Fairfax Studio, Arts Centre Melbourne
Prices: $30 – $79
Bookings: https://www.artscentremelbourne.com.au/whats-on/2018/circus-and-magic/riot

Festivals, Theatre

Midsumma Presents We Were There

A new piece of verbatim theatre presents an often unheard perspective of HIV and AIDS.

By Lois Maskiell

When it comes to verbatim theatre truth is never far away as the script is constructed from the exact words of real individuals. Dirk Hoult and Gavin Roach of Tilted Projects have developed their latest production, We Were There, from interviews with 15 different women who were directly involved in the HIV/AIDS crisis during the ’80s and ’90s.

Based on real accounts of sisters, mothers, wives, friends, volunteers and medical professionals who cared for those living with HIV/AIDS, this production transmits their often unheard, devastating and heart-warming experiences.

Actors Perri Cummings, Olivia Monticciolo, Leah Baulch and Jodie Le Vesconte all play various women, at times HIV-positive women and at other times medical professionals involved in caring for people with this virus. Their characters are initially somewhat fluid, they don’t seem to have set names, and in the early stages of the performance they interrupt each other, releasing fragmented experiences in a dynamic and fast rhythm. We meet a young woman who had unprotected sex while holidaying in Israel, a mother whose partner transmitted the virus to her without ever knowing he was positive himself as well as a nurse and a doctor.

Director Dirk Hoult has put together a coherent, post-dramatic piece which despite resisting realistic characteristics of time and space, comes together in a clear narrative. Strong visual and physical cues assist in transitions between scenes and notify the audience when a speaker has changed – particularly important as performers don’t wear identifiable costumes.

Jason Bovaird’s lighting features the clever use of darkness to create a rough and brooding atmosphere in the intimate Chapel Loft. In several instances, significant shifts in lighting allow a sudden change in tone, engulfing the space with warmth during happier moments – like the recounting of a wedding. Alexandra Hiller’s set design includes essential items such as chairs, as well as a large, ambiguous cloud-like structure which had a meaning and significance I found difficult to discern. Nonetheless, it contributed to an eerie atmosphere, that seemed neither of this world nor of another.

This production’s brilliance lies within its ability to lay bare pertinent social issues. By deconstructing the stigma around HIV/AIDS and depicting real life experiences, the vitality of its message is what stands out most.

Its strong group of actresses were clearly moved by the accounts of the women they were bringing to life, which in turn was moving to watch. The dedicated nurse, the advocate who attended three funerals a week for years, the young woman who had her first relationship after being diagnosed – all of their stories of both celebration and despair are deeply affecting and worth sharing.

Dates: 23 January – 4 Febuary
Venue: Chapel Off Chapel
Times: 7:30pm
Prices: $39 – $49
Bookings: https://midsumma.org.au/program/wewere18