Category: Music

Music, Review, Theatre, Whats On September 6, 2015

REVIEW: Joshua Harmon’s BAD JEWS

Strong performances and serious laughs

By Myron My

Already a hit on Broadway and the West End, Joshua Harmon’s Bad Jews has crossed continents for its Australian premiere. The “bad Jews” here are three family members, siblings Jonah and Liam, and their cousin Diana (who prefers to be called by her Hebrew name Daphna) who have come together for the funeral of their grandfather. Over the course of the evening, their relationships, cultural identity, class and life are all explored, often with hilarious results.

Daphna (Maria Angelico) is not concerned with any form of financial gain from her late grandfather, and all she requests from her cousins (Simon Corfield and Matt Whitty) is her grandfather’s “chai”, a gold ring that represents his soul and that he had since he was a child. While this “simple” request soon creates much tension for the three, it creates an equal amount of laughs for us.

Director Gary Abrahams’ exhaustive casting search has more than paid off with the actors he has chosen. Angelico is definitely a find as Daphna, who, despite playing a character that can be abrupt and hostile towards anyone “different”, still manages to show the vulnerability that is hiding under Daphna’s strong cultural and religious ideals. However, it is Corfield as the arrogant and self-entitled Liam who remains the star of Bad Jews. The antithesis of Daphna, he is not a follower of the faith and nor does he have the strong connection to family that his cousin does. Corfield does such a phenomenal job with his portrayal that I actually hated seeing his character on stage and really wished he would shut his mouth every time he spoke. Everything about Liam; the way he speaks, the way he stands, the way he moves, is all powerfully convincing as a privileged, upper-class white man.

Anna Burgess as Liam’s girlfriend, Melody, brings an innocence to the show and some brilliant comic relief, with one memorable scene in particular being a highlight of Bad Jews. It’s perhaps because of these three strong characters that Whitty’s Jonah unfortunately left little impression as scenes involving the character usually had him doing nothing more than standing around with an exasperated look on his face. I’ve seen Whitty perform before and he is assuredly a good actor but unfortunately the character needed to have a stronger presence if he was going to compete against the likes of Daphna, Liam and Melody.

Despite the one-act play taking place entirely in a studio apartment, Abrahams ensures that the pacing never drags or falters. His use of the space and a mixture of verbal as well as physical comedy ensures our attention is always on the stage.

Ultimately none of the characters are actually very nice people and we are left wondering who exactly is the “bad” Jew and who is the rightful heir to the “chai”. Even with a few ‘rants’ that went on for too long, Harmon’s script is a clever and well-observed character study on what makes us ‘us’, and with the talented group of actors on board, this is a production that makes for an enjoyable and entertaining night out.

Venue: Alex Theatre, 135 Fitzroy St, St Kilda
Season: Extended until 19 September | Tues-Sat 8.00pm, Sat 2pm, Sun 3pm
Tickets: Between $40 – $55
Bookings: Alex Theatre

Image by Jeff Busby

Music, Opera, Performances, Review August 15, 2015August 15, 2015

REVIEW: Victorian Opera Presents REMEMBRANCE

How do you choose to remember?

By Deborah Langley

It’s a cold night in Melbourne and I must admit I’m feeling quite nostalgic. It’s been a hard week for me, the week I said goodbye to my grandmother, of funerals and sadness, of tears and regret. So it was with a heavy heart that I went along to the Victorian Opera’s Remembrance at the Arts Centre’s Hamer Hall.

On this the centenary year of the ANZAC landing in Gallipoli, I was ready to remember: to shed a tear for the wasted youth and reminisce of times gone by, of what could have been and what we have lost.

With stories, songs and images we were given an historical and musical account of Australia’s involvement in World War 1. From the time of enlistment in 1914, with diggers leaving us and training in Egypt, through to landing in Gallipoli, the Somme and the Western Front and finally the homecoming of some of our luckier diggers. Remembrance gives a respectful reimagining, complete with authentic wartime ditties, but unfortunately this ultimately did not feel a truly heartfelt tribute.

Written and directed by award-winning Australian author Rodney Hall, and composed and conducted by acclaimed artistic director Richard Mills, Remembrance stars one of Australia’s best-known operatic tenors David Hobson, along with eight of Victorian Opera’s talented young artists.

Elizabeth Lewis is a standout in the ensemble, embodying characters both vocally and physically, while Michael Petruccelli and Nathan Lay give equally memorable performances as diggers throughout the war as the cast create a series of moving musical portraits against the backdrop of archival footage.

Accompanied by an impressive chamber orchestra, Orchestra Victoria, and a large rousing community choir, Remembrance does offer a glimpse into what life might have been like during World War 1: something we should all continue to remember.

Victorian Opera’s Remembrance was performed at Hamer Hall on August 13 2015, before touring:

Ulumbarra Theatre, Bendigo
15 August 2015, 7:00pm

The Cube, Wodonga
31 August 2015, 10:30am & 7:30pm

West Gippsland Arts Centre, Warragul
3 September 2015, 8:00pm

Eastbank Centre, Shepparton
12 September 2015, 7:30pm

http://www.victorianopera.com.au/what-s-on/remembrance/#TabDatesTickets

Comedy, Events, Festivals, Music, Review, Stand-Up Comedy April 9, 2015May 6, 2015

REVIEW: Jude Perl presents Is it just me?

Musical comedy with a conscience

By Narelle Wood

Jude Perl knows how to make an entrance, an entrance in a dress that would make Lady Gaga green with envy. Perl’s musical comedy is full of musical and pop clichés in a satirical look at everything from being a pop star to asking the very poignant question Is it just me?

The songs cover a whole gamut of topics, but all seem to have some feminist undertones, or other social commentary hidden amongst the extremely witty and downright hilarious lyrics. Her songs drip with well-written innuendo and a smattering of over shares, which, she acknowledges from the start, are things the audience may not want to know.

Between the musical numbers, Perl performs some non-musical comedy that is just as funny. While I really enjoyed these parts of the show, the highlights for me were the musical numbers; I couldn’t pick a favourite song if I tried. My absolute favourite part of the show was Perl’s voice; it sounded like an incredible cross between Alicia Keys and Suzie Quatro resulting in a sound that I found both familiar and completely unique.

I thoroughly enjoyed Is it just me? from beginning to end. There is something very endearing about Perl that made even the audience participation moments (which I usually dread) completely okay. Jude Perl’s Is it just me? is extremely entertaining and honest comedy at it’s musical best. If good comedy and good music is your recipe for a good night out then this show is a must.

Venue: The Butterfly Club, Carson Place, Melbourne

Season: 6pm Wed 13 May – Sun 17 May, 7pm Sat 16

Tickets: Full $25| Conc $23

Bookings: www.thebutterflyclub.com

Cabaret Review, Music, Performances, Whats On August 1, 2014August 1, 2014

REVIEW: Rita Costanzi has A SCORE TO SETTLE

Held an audience entranced

By Jessica Cornish

A Score To Settle is the one-woman musical cabaret performance starring the vivacious and extroverted Rita Costanzi and her grand harp. This former principal harpist of the Vancouver Symphony and CBC Radio Orchestra did not disappoint her opening night audience.

The musical monologue loosely followed Rita’s life, from her glorious and grandiose birth under a pregnant moon, to finding a partner crazy enough to love another harpist, her experiences with a tea-reading fortune teller and an exploration of why she has dedicated her life to this instrument that has essentially become an extension of herself. The narrative was very neatly scripted and clearly well-rehearsed, but having been expecting a more casual cabaret-style narrative it took me a few minutes to ease in to the dialogue and readjust my expectations of the evening.

With music weaved between her bubbly narrative, Costanzi was easily one of the most incredible harp players I have ever been privileged to see. And being in such an intimate venue such as The Butterfly Club the experience was even more unique- when else do most people get to sit within meters of a beautiful unamplified harp and hear it played so exquisitely? The audience was consistently blanketed in silence as soon as her fingers hit the strings. I myself was constantly mesmerized by her pieces, but my favourite piece for the night was a beautiful rendition of the Celtic classic, “Danny Boy” – clichéd, I know, but lacking a strong classical background and any type of program I found it hard to identify many of the compositions by name. A little informational playbill-style sheet may not go to waste in future performances.

I particularly loved the small excerpts where she sang into her harp whilst playing. The ethereal and mesmerising result sounded like was an ancient Elvish song taken from straight from Middle Earth, and made me wish she had done more singing and playing, although I can imagine this would be incredibly difficult.

A Score to Settle is an extremely unique and entertaining 70-minute piece of musical art that Melbourne audiences are lucky to experience for another couple of days. The fact that Rita and her harp made it to Australia in one piece is a major effort in itself that deserves rewarding if nothing else.

A Score to Settle will be performed for the next three days at the iconic Butterfly Club in Carson Place, CBD.

Friday 01 August 2014 7:00pm
Saturday 02 August 2014 7:00pm
Sunday 03 August 2014 6:00pm

Full $23
Concession $20
Group (8+) $18

http://www.thebutterflyclub.com/

Music, Opera, Review, Whats On March 22, 2014March 22, 2014

REVIEW: Melbourne Opera Presents MADAME BUTTERFLY

The Butterfly reborn

By Margaret Wieringa

It’s one of the greatest tragedies in opera – Madame Butterfly, a young Japanese woman who falls in love with and marries an America serviceman only to be abandoned and, ultimately, takes her own life.

This production by Melbourne Opera is a restaging of director Caroline Stacey‘s production that was nominated for seven Green Room Awards a decade ago. Of the two casts being used for this performance, I had the pleasure of seeing Antoinette Halloran as Madame Butterfly.

The turmoil of the title role poured out lusciously not only in her singing, but through every part of her presence. While she was the emotional centre of the performance, her grief was reflected in other characters, most notably her maid Suzuki (played with beautiful large physical gestures by Caroline Vercoe) and Sharpless, the US consul (in a contrastingly still but equally grief-stricken performance by Roger Howell),

As I came through the foyer, I was surprised at the variety of people in the audience. There were young and old, some families; some seemed very familiar to the theatre experience and others, like one gentleman I overheard “could not believe they would ever go to the opera!” To get such a wide variety of audience members to embrace the performance is a large challenge. Luckily, a slight hitch with part of the set could not have been better timed, as it was followed shortly by a line from Pinkerton (Jason Wasley) wondering if the Japanese style of house would fall apart. The audience laughed together, brought into a shared joke and brought into the house.

The Athenaeum is a venue built for such an intimate performance, as the sounds of the orchestra seem to fill the entire auditorium. Occasionally, the music overpowered the singing, however with such magnificent sounds, it was hard to be disappointed. The simple use of the large, white paper doors as the main set allowed the mood of each scene to be set using delicate colour washes and other lighting effects, and contrasted beautifully with the bright colours of the costumes and umbrellas of the female chorus as they celebrated the wedding day.

By the end of the performance, I felt emotionally wrung out and was happy to leave Madame Butterfly’s house, though I was glad I’d dropped by. And especially glad that I’d brought my tissues.

Athenaeum Theatre

188 Collins St, Melbourne

Friday March 21, 7:30pm; Saturday March 22, 2pm/7:30pm, Monday March 24, 6:30pm

Book on 9650 1500 or through Ticketek on 13 28 49

Tickets from $25-$98

Alexander Theatre – Monash University

Wellington Road, Clayton

Saturday May 3, 8pm

Book on 9905 1111 or artsonline.monash.edu.au

Tickets from $30-$75

Events, Music, Review, Whats On March 1, 2014March 1, 2014

REVIEW: Nick Hedger’s PLAYGROUND

An eclectic collection from an exciting young composer

By Narelle Wood

Playground is a collection of songs by the very talented Nick Hedger. Whilst some of the songs, such as those from Hedger’s much talked-about one-man cabaret show Crap I Found in My Room, have obviously been worked through a number of times, this musical collection also showcased some of his newer work including songs from HomeSick and Conditions.

Playground’s ‘players’ consisted of an experienced and talented cast including Kerrie Anne Greenland, Brent Hill, Andrew Hondromatidis, Erin Kennedy, Emily Langridge, Ben Nicholson and Nick Hedger himself. Given the experience of the cast it was honestly hard sometimes to work out whether the occasional off note, which was mostly noticeable during the harmonies, was first-night nerves or a result of Hedger’s sometimes unusual, but workable, musical arrangements.

The musical numbers showcased Hedger’s ability to write everything from comedy, to ballads, to creepy tunes about the Pied Piper taking his revenge. While there were some clear themes to songs from the same musical works, without reading the explanation in the program many of the songs lacked context making it difficult to ascertain what was going on. This was especially the case where the songs made overt references to storylines and characters from particular shows, and was further compounded by the show jumping from musical to musical. That been said, the show did have an overall balance between the musical genres it presented.

The standout moments of the night were provided by those pieces that were written or performed with comedic intent: “Golden Rule”, “Playa” and “Is That What Makes a Relationship?” On the creepier side of the comedy was the performance of Hondromatidis, Nicholson and Hill as three witches back from the dead in “Back in Salem”; this was disturbingly entertaining in the only way watching three grown men menacingly sing “we’re coming for your children” can be.

It has to be said that Hedger’s ability to tickle the ivories stole the show, especially during the piano solo from “Bit of a Feelin’”. Whilst some of the ballads were a little over-sentimental, I would be very eager to see more of Hedger’s work: this is a musical mastermind in the making.

Venue:Chapel off Chapel, Prahran

Season:Saturday 1^st March 8pm, Sunday 2^nd March, 6.30pm

Tickets:$30 Full | $25 Concession

Bookings: chapeloffchapel.com.au/ticket-sales/

Cabaret, Cabaret Review, Music, Whats On February 22, 2014

REVIEW: Will Packvance’s ANATOMY OF THE PIANO

Dramatic musical dissection in harmony with delicate endearing dialogue

By Myron My

Will Pickvance has brought his critically acclaimed and sell-out show from the 2013 Edinburgh Fringe Festival to Australia, and all I can say is how fortunate I feel to have been able to see this brilliant performance.

In Anatomy of The Piano, Pickvance presents the physical, emotional and spiritual inner workings of the piano in a whimsical and ethereal way. His presence on stage is so relaxed and serene that you are instantly swept up for the ride as he tells his stories and sings his songs around the dissection of a piano. We begin with the skin of the piano: its largest “organ”, and how it protects the piano from “toddler invasion, curiosity blunders and drunken burns”. As we delve further into the dissection, descriptions become more and more detailed until it feels like we are, in fact, taking apart a living thing – a real character.

Throughout the show, Pickvance uses a projector on the other side of the stage to display various diagrams, charts and drawings of pianos. It creates the didactic feeling of being a child again and the simple black and white drawings bring a level of innocence and open-eyed wonder to the possibility of what can be – and now I can admit I finally know the actual difference between a grand piano and an upright piano…

The finale had audience members shouting out for an encore: Pickvance kindly obliged and took us out with a highly impressive final play on the upright piano (see what I did there?) Anatomy of The Piano is not a show where a lot happens but the eloquence and poetry of Pickvance’s words combined with his spectacular piano skills ensured that his audience and I remained highly enthralled by this performance.

Venue: The Butterfly Club, 256 Collins St (entry via Carson Place), Melbourne

Season: Until 23 January 7:00pm, Sun 6:00pm.

Tickets: $28 Full | $25 Conc

Bookings: http://www.thebutterflyclub.com

Cabaret, Cabaret Review, Festivals, Music, Performances February 3, 2014February 3, 2014

REVIEW: Ginger and Tonic are 50 SHADES OF GAY

Just bought their CD…

By Narelle Wood

The a cappella group Ginger and Tonic’s 50 Shades of Gay is more than just good singing of songs by gay composers, iconic gay songs and a song from Marvin Gaye: it provides a whole lot of sass and a whole lot of laughs through the group’s comedic styling and homosexual humour.

Emma, Jane, Carena and Sheona have amazing voices and not only an incredible ability to harmonize but to construct musical arrangements that segue seamlessly from one song to another: 4-non-blondes and Sophie B Hawkins, a Ricky Martin tribute, and a medley from the big six Divas of our time, among some of the best.

For most groups an ability to sing would probably enough to sustain an hour’s worth of good entertainment, but on this musical trip through every colour of the rainbow, the girls also test the knowledge of the audience in some Spicks-and-Specks style gaymes: musical trivia with a gay twist.

On the lighter side of the 50 shades are songs such as “The Love Shack”, a Lesley Gore tribute, and a Minogue sister battle, that showcases the humour with which this performance had been put together. This is mostly accomplished through the part-clichéd, part-sassy, part-sexual dance moves, some wild gesticulations and animated facial expressions.

But it isn’t all fun and games. Ginger and Tonic through their performance of Rufus Wainwright’s “Natasha” demonstrate that they can sing with the stillness of the most seasoned performers and this highlights just how good their voices are.

The night, for me, ended far too soon as I would have been happy to continue counting down (or counting up in this case) well past the 50 songs and well in to the hundreds. It’s okay though because I’ve since found their CD on I-tunes.

I would like to describe Ginger and Tonic as Pitch Perfect meets the Spice Girls, but the comparison just isn’t fair. Ginger and Tonic are definitely in a league of their own.

50 Shades of Gay was performed for the 2014 Midsumma Festival at The Butterfly Club. For more information, visit http://www.gingerandtonic.com.au/

Circus, Events, Music, Performances, Review, Whats On October 10, 2013October 11, 2013

REVIEW: Michael Jackson – The IMMORTAL World Tour By CIRQUE DU SOLEIL

This is it

By Tania Herbert

Four years after his death, it can be easy to forget the influence Michael Jackson had on the world– music, dance, fashion, and a strong (albeit rather odd) wish for world peace. However, Michael Jackson: The Immortal World Tour by Cirque du Soleil reminds us of all we loved Michael for in the most spectacular way.

Amongst the extensive list of what made Michael so adored were his phenomenal live performances, and the “rock concert extraordinaire” of song, dance, costume and special effects. Whilst there was frequently an air of circus in MJ’s life and work, I was intrigued as to how Cirque Du Solei would tackle such a challenging array of elements.

Michael Jackson, The Immortal World Tour not only captured the essence of all that was Michael, but took it to a whole new level. With much more of a rock-concert feel than a circus show, the performance was an absolute feast for the senses. Show-stopping numbers left you quite overwhelmed – when there are extraordinary dancers paying homage to Michael’s greatest moves, flipping acrobats, aerial stunts, tap dancers, a one-legged break dancer, and giant-clockwork projected parts all rocking out in perfectly choreographed chaos, the biggest challenge is to choose where to look.

It would be easy to become lost in the spectacular, but the show beautifully holds the audience through the journey with a central character, mime Mansour Abdessadok, who takes us into Neverland, Michael Jackson’s bizarre Peter-Pan playground. From blow-me-away huge numbers, the show slides seamlessly into beautiful circus performances based on some of MJ’s most iconic music videos, with Anna Melnikova’s “Dangerous” pole dance standing out as a particular crowd-favourite.

Contemporary is mixed with classic throughout. Street art is referenced often with beat box and graf, and the special effects and projection work is just huge. A good eye will pick out special Michael homages, including a re-enactment of the “They Don’t Care About Us” number designed for the never-performed concert “This is It”, and band members with special connections to Michael such as Jonathan “Sugarfoot” Moffett who drummed for him for 30 years.

This show really does have everything, yet somehow manages to do it all with great taste and in genuine honour of a musical genius. Projected footage of Michael’s performances as a child reminds us of where the man began, and of the child in all of us. Immortal really does capture the essence of Michael in a… well, in a huge arena spectacular. Michael would have loved it.

Last night was a sell-out show, so get in quick to book to book. Performances are at Rob Laver Arena from October 9 to 13. The show then heads to Adelaide for the final leg of the national tour.
Tickets at www.ticketek.com.au or by calling 132 849. Tickets range from $89 to $189 each.

Events, Festivals, Music, Review, Whats On September 19, 2013September 19, 2013

REVIEW: Freya Bennet and THE POSSIBILITY OF FALLING

Charming and disarming

By Tania Herbert

The Possibility of Falling is the story of a girl – and her cat.

A Melbourne Fringe festival show in combination with album launch of Freya Bennett’s first album The Marvellous Reject Girl, Freya and her lovely four-piece accompanying band take the audience on a whimsical journey of story and music. The show is beautifully back-dropped by a moving visual slideshow of work by American photographer Sophie Pellegrini.

The little tale of The Marvellous Reject Girl has hints of The Little Prince and Emily the Strange in equal measure, and the children’s storybook-style of the script is full of sweet sentiment as a tale of loneliness, lost love and self-acceptance. In between times, we are treated to the soundtrack to the reject girl’s life.

Heavily instrumental, the music is very much like a movie soundtrack for some little American indie film with a bit of a Frenchie feel. The cellist, trombonist, guitarist and drummerwere a wonderfully cohesive unit, and filled out the simple lyrical feel of the piece.

Long Play must be one of the more unique spaces in Melbourne’s north, a mini-cinema with loads of personality, and a well-chosen venue for the show.

Personally, I’m a bit of a fan of a story album, and I found this to be an extremely pleasant evening of Fringe. Evocative of Aimee Mann and Camille, I hope we see Freya Bennett some time to come, as I’d love to see her music as it matures over the years, with some extra depth to add to the sweetness. The Possibility of Falling is a lovely little pat to the soul. And did I mention it was sweet?

The Possibility of Falling is playing for Melbourne Fringe on
Wednesday 25th September , 7:30 PM
Monday 30th September, 7:30 PM
Wednesday 2nd October, 7:30 PM

Tickets: $14/$18

Book at:
http://www.melbournefringe.com.au/fringe-festival/show/the-possibility-of-falling/
Or call (03) 9660 9666
Or at the door