Category: Musical Theatre

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

REVIEW: 2013 Australian Tour of HOT SHOE SHUFFLE

Tap into this!

By Christine Moffat

The story of Hot Shoe Shuffle, in essence, is of the seven ‘Tap Brothers’ who are called to New York for the reading of their father’s will and to meet April, their long-lost sister.  To gain their inheritance, they must recreate their father’s famous act ‘The Hot Shoe Shuffle’, and it must include the dance-challenged April.

Hot Shoe Shuffle

Hot Shoe Shuffle is an original Australian show, but created in the form of an old-time movie musical, and the current season at Her Majesty’s Theatre is the 21st anniversary production.  Despite the show’s classic format, it is hard to believe it was written two decades ago, as it has all the vibrancy and energy of a debut season.

The first half of the show is like tutti-frutti icecream: a brightly coloured sugar-rush of comedy, condensed plot twists, slapstick humour, great music and dynamic tap numbers.  The second half, mainly the famous review act ‘The Hot Show Shuffle’, is like champagne sorbet.  It is elegant, ritzy, and jam-packed with dance routines reminiscent of a black-and-white Fred Astaire film.

The score is a who’s who of timeless composers, including songs from Duke Ellington, Cab Calloway, Ira Gershwin and Peter Allen.  The costumes for this production by Janet E Hine are a master class in what wonderful costuming can bring to a show, contributing to creating and developing the characters before our eyes.  And the choreography (David Atkins, Dein Perry, Drew Anthony) showcases the versatility of tap, including routines that were romantic, drop-dead glamorous and a sensational drunken dance by the brothers.

Jaz Flowers as April is reminiscent of a young Lucille Ball, using comedy, sex appeal and her knockout voice to full advantage.  Bobby Fox as Spring is surprisingly funny, vulnerable, almost accidentally charming, and refreshingly different to a stereotypical ‘leading man’.

David Atkins (also producer and director) makes a classy transition from his role as Spring in original production to wise mentor/slave-driver Max in this run, and yes, he can definitely still dance!  All of the cast are excellent dancers and their dance solos were fantastic, but stand-out performances includded Morgan Junor-Larwood as the gung-ho Slap and Mason Schaube as the adorable, but a bit slow on the uptake Slide.

The level of entertainment and fun in this show is phenomenal.  At the preview the cast received a well-deserved standing ovation.  A word of caution though – The Hot Shoe Shuffle is infectious: if you see the show, you may feel compelled to take tap lessons…

Melbourne dates: Aug 12 – Sept 8

Show times: Tues 1pm/ Wed 1pm & 8pm/ Thurs & Fri 8pm/ Sat 2pm & 8pm/ Sun 3pm

Venue: Her Majesty’s Theatre, 219 Exhibition St

Tickets: Premium from $110*/ A Reserve from $89*/ Groups 10+ from $69*/ Family from $276*/ Schools/Dance Schools groups 10+ $50* *(*booking fees apply)

Bookings: http://premier.ticketek.com.au/shows/show.aspx?sh=HOTSHOE13

Official website: www.hotshoeshuffle.com

Events, Musical Theatre, Review, Whats On

REVIEW: Four Letter Word Theatre Presents THE WILD PARTY

Let the fun begin

By Bradley Storer

Upon entering the Main Stage area at Revolt, the audience is immediately immersed in the dingy but seductive Prohibition-era charms of the ‘speak easy’, with tables set up close to the stage and lit eerily by candles. The dark cavernous space of Revolt seems an oddly fitting place for this 1920’s tale of a party thrown by a pair of vaudeville performers on their last legs – a potent cocktail of sin, depravity and eventual tragedy.

Rosa McCarty is a knockout as Queenie the party’s hostess, a blonde bombshell past her prime, throwing herself into the fading performer’s depths of hedonism and disillusionment with abandon and a fierce belt.

The Wild Party

James Cutler is continually compelling as the brutish Burrs, her abusive and bullying husband, bringing ferocious energy and sinister glee to the role that makes him exciting to watch. Their volatile and destructive relationship, although disturbing, is vividly invoked by the two performers.

The musical unfortunately has trouble finding its feet in the first act. Despite a cavalcade of strange and curious characters that pour onstage at the beginning of the show, including a charming polysexual predator (Ed Deganos), a lesbian stripper and her borderline comatose lover (Samantha Hammersley and Renee Pope-Munro) and a creepily close pair of male twins (Samuel Dariol and James Worsnop), there is a lack of energy onstage which makes the ‘party’ atmosphere hard to maintain. Maree Barnett as the cunning diva looking for a comeback emits smouldering ambition, while wielding a pair of surprisingly flexible legs like a weapon. The arrival of Kate, a vaudevillian star and Queenie’s best friend/enemy (played with commanding confidence by Alana Kiely), and her lover Black (Christian Cavallo) raises the spirits of the ensemble considerably, culminating in an Act Two ode to gin that explodes with an dynamic vitality that has been missing so far.

A daring move is the inclusion of a secondary ensemble, a collection of malevolent Satanic spirits who seemingly manipulate and corrupt the characters unseen by anyone whilst wandering offstage and through the audience – a very original idea, which has mixed results throughout the evening. While feeling like an unnecessary addition in the first act, director Robbie Carmellotti finds some electrifying tableaus in the second act that utilize them to a better degree.

An evening of daring and boundary-pushing theatre that, while sometimes not entirely succeeding, is nevertheless admirable for the depth of its invention and ambition.

VENUE: Revolt Melbourne, 12 Elizabeth St, Kensington

DATES: 31st July – 3rd August

TIME: Tue to Sat 7:30pm, Sun 3pm

TICKETS: A Reserve $60/Concession $40, B Reserve $45/ Concession $30, C Reserve $25, Table of 8 $900

BOOKINGS: www.fourletterwordtheatre.com, www.revoltproductions.com,  boxoffice@revoltproductions.com , at the door.

Cabaret, Cabaret Review, Musical Theatre, Whats On

REVIEW: Jemma Rix with David Young in THE RANDOM VARIETY

Wicked star braves the cabaret stage

By Bradley Storer

Introduced by her accompanist David Young, Jemma Rix, the recently-announced Elphaba for the new Australian production of Wicked, took to the stage of The Butterfly Club with a shy but toothy grin. Here she launched into a wonderful original song investigating the meaning behind the title of the show and ending in a medley of countless tunes shouted out on the spot by Young.

Jemma Rix

A misstep was following this rollicking song with the Eagles’ sombre ‘Hotel California’, an odd choice which drained the energy she’d built up in her first tune. For the first part of the evening Rix was clearly nervous and had trouble maintaining eye contact with her audience – not such a big problem for musical theatre but difficult for the intimacy of cabaret. She asked the audience’s forgiveness for her understandable nerves in her first outing as a cabaret performer.

After seeming a little unsure of herself through the first few pop songs on the set list, resorting to a few stock pop-singer stage moves at some points, one could almost feel her give an internal sigh of relief when she reached the first show tunes of the night – a winning combination of Stephen Schwartz’s ‘Beautiful City’ and Sondheim’s ‘Another Hundred People’, with Schwartz’s idealistic vision of a ‘city of men’ bringing out a surprising beauty in Sondheim’s bleak landscape of urban alienation.

The first moment where it felt Rix truly connected with her audience was with the song ‘With You’ from the musical Ghost – here her inhibitions melted away  and I felt transported as Rix brought us into the heartbreaking grief of losing a loved one, and from here on out she was on solid ground. Once her nerves were gone, Rix revealed herself as a charming and engaging performer, along with her voice of startling power and floating delicacy.

The later half of the evening brought some surprising and rewarding choices in repertoire. Rix informed us of her uproarious idea of a Romeo and Juliet juke-box musical based around the music of Rihanna (the only thing lacking were some daggy dance moves!). Her banter about the plight faced by youth today in an environment pervaded by cyber-bullying led into a brilliant fusion of ‘Quiet’ from Tim Minchin’s Matilda with David Guetta’s ‘Titanium’ that held the entire audience spell-bound.

A promising first show from an established music-theatre performer which assures us of great things for her cabaret future! 

Venue: The Butterfly Club, 256 Collins St (enter off 5 Carson Place), Melbourne City

Dates & Times: 23rd, 24th, 28th at 8pm, 25th, 26th, 27th at 9pm.

Tickets: Full $28, Concession $25, Group $23, Tightarse Tuesday $20.

Bookings: www.thebutterflyclub.com , 9663 8107 or at the door.

Events, Musical Theatre, Opera, Review, Whats On

REVIEW: Victorian Opera’s SUNDAY IN THE PARK WITH GEORGE

Simply – see this

By Bradley Storer

Victorian Opera undertakes a gargantuan challenge, both technically and artistically, with their production of Stephen Sondheim’s Sunday in the Park with George.

SUNDAY IN THE PARK WITH GEORGE

This Pulitzer Prize-winning exploration of the life of French artist Georges Seurat and his painting ‘A Sunday Afternoon on the Island of la Grand Jatte’, and the life of his fictional descendants, indelibly changed the landscape of the Broadway musical when it premiered in 1984, and the shadow of the original production is hard to escape. An opera company attempting to mount the musical presents even more challenges, given the fundamental differences between the art forms.

I can happily say that Victorian Opera has risen to the challenge and exceeded it spectacularly. The set design alone, inherently important to the meaning of the show, is astonishing. A simple bare scaffold  and a winding staircase unfolds into a continual array of surprising and delightful scenes – trees, buildings, sketches and pieces of George’s work fly in and out, all contained within a frame that resembles the outline of an artwork.

Alexander Lewis as the artist Georges Seurat brings a humanity, vulnerability and anguish to the role, as well as a flawless operatic tenor voice – for this reviewer, he lacked the fire and intensity at times needed to believe him as a visionary artist, but this is a small complaint. Christina O’Neill as his lover Dot overplayed her sensuality and sexuality at the beginning to a strident degree, but in the character’s more reflective moments she was perfection, and as this quality became more pronounced over the course of the show O’Neill created a strong and heart-breaking character who, more so than even George, is the soul of the show.

Nancye Hayes as George’s mother is hilariously understated and her Act One duet with Lewis ravishes with its delicate loveliness. The ensemble of Sunday, a mix of musical theatre and opera singers, are uniformly strong, all bringing hilarious and touching characterizations . The finale of Act One, the culmination of George’s work in assembling his masterpiece, is a glorious tribute to the power of art to create meaning in the human condition.

Having attended a panel discussion with the artistic team for Sunday, it is clear that this is a labour of love from an ensemble of artists that have enormous respect for the work and a singular vision for its creation. Here this union creates a magnificent production, a stunning and original artistic vision expertly executed and a triumph for all involved.

Venue: The Playhouse, Arts Centre Melbourne, 100 St Kilda Rd

Dates:    Sat 20 , Tue 23, Wed 24, Thur 25, Fri 26, Sat 27 July at 7.30pm and Wed 24, Sat 27 July at 1:00pm

Bookings: www.artscentremelbourne.com, Ph: 1300 182 183

Events, Musical Theatre, Performances, Review, Whats On

REVIEW: Greyhound Hotel and HOLY SHIP! The Stage Show

Camp musical comedy is making waves

By Myron My

Set during the 1920s, Holy Ship! is a loose combination of love story and ode to the perils of being at sea. However, life on board ship and the romance between Bonnie (Danae Vincent) and Charlie (James Traille) is not why we’re here. Holy Ship! is about fun, and with all the songs, dances, burlesque, circus acts, tap dancing and flesh on display, it would be very difficult not to have plenty of it here.

The majority of Holy Ship! is about being camp, naughty and sexy. Yet our narrator and Captain of the ship, Andy Balloch did create a beautiful a cappella moment that really echoed the loneliness of life at sea, and Vincent – in particular – and Traille owned their songs convincingly, and with seemingly little effort.

Holy Ship! 2

Despite these strong voices however, I did feel the ballads were misplaced in this production overall. There is little character development and I found it difficult to care about the central relationship beyond a superficial level, and was eager to return to the cheeky and more dynamic performance elements.

The merman scene for example, performed by Mr. Boylesque 2012 Raven, was a great addition, allowing the show the opportunity to surprise, stun and reel us back in. Furthermore, the tap-dance number, and the silk and the rope routines were nicely spaced-out and offered something different and visually engaging for the audience to enjoy.

Ian Knowles has clearly put in some hard work with the choreography and on the whole, the dancers have great control and remain in perfect rhythm in their Charleston-inspired numbers. As there is not much in terms of set, the atmosphere created by the live band, and the period costuming and make-up allow the speakeasy era to make itself clearly present throughout the show.

Holy Ship! is the largest show in 150 years that the Greyhound Hotel has hosted and it’s easy to see why. There is nothing small about this production: everything is large, loud and showy but more importantly, the show is sexy, enjoyable and fathoms of fun.

Venue: Greyhound Hotel, 1 Brighton Rd, St Kilda

Season: Until 13 July | 8:00pm

Tickets: $35 Full | $25 Conc

Bookings: www.holyshiptix.com & at the door

Events, Musical Theatre, Performances, Review, Whats On

Review: The Production Company Presents GYPSY

Everything’s coming up up roses

By Bradley Storer

The Production Company brings together a star-studded cast in this presentation of what can be described as the greatest musical in the American tradition. Like a musical version of King Lear, Gypsy presents the tale of Mama Rose as she fights, batters and tramples all the obstacles in the way of propelling her two daughters to stardom, even as they resist and try to escape her iron grip.

Caroline OConnor

Christina Tan as the young girl who grows up to be the eponymous Gypsy Rose Lee, is perfect as both the boyish, plain Louise at the beginning of the show, looking adorably innocent in her baggy oversized clothes, as well as the glamorous and seductive burlesque star that she becomes over the course of the narrative. However, in the strip tease sequence in Act Two (which illustrates Gypsy’s rise to her full potential as well as to stardom) Tan does not fully embody the burgeoning self-confidence and realisation that would bridge the gap between the two sides of the character.

Gemma-Ashley Kaplan as Baby June, Rose’s favoured child, brings both perkiness, a bright piercing belt and an underlying exhaustion to the role – her younger counterpart is equally amazing, possibly more so in some of her dances! Nathan Pinnell as the dancer who runs away with her steals the show with just one song and a brilliant choreographed dream ballet (choreography by Andrew Hallsworth).

The brilliant Caroline O’Connor is a phenomenon as Mama Rose, bringing layer upon layer to this larger-than-life character. This is a woman so consumed by her dreams and fantasy of stardom (vicariously lived out through her daughters) that she is hopelessly disconnected from everyone around her, most of all her family. In every one of Baby June’s dances we see Mama Rose flitting in and out of the background and off to the side of the stage repeating the choreography; whenever she by chance enters the spotlight her face breaks out in with unadulterated pleasure that is simultaneously comic and pathetic. O’Connor’s characterization brings to mind those other great tragic characters of American literature, Willy Loman and Blanche DuBois, both sustained and eventually destroyed by their dreams.

Matt Hetherington as Herbie, her lover/business partner is quite subdued, but the pair have a sweetness that makes the disintegration of their relationship as a result of Rose’s ambition all the more poignant – here Hetherington shines with a quiet dignity.

Gale Edwards brings an expansive directorial vision to this great American musical, emphasising how all these characters, whether or not they are onstage, are performers – acting out their own internal fantasies or forced to live inside a role that has been thrust on them by someone.

Venue: The State Theatre, The Arts Centre, 100 St Kilda Rd

Dates: Sat July 6th/Wed 10th/Thur 11th/Fri 12th/Sat 13th at 7:30pm; Sat July 6th/Sat 13th at 2pm; Sun July 7th/Sun 14th at 3pm

Prices: From $23 (C Reserve U18) to (A Reserve) $115

Bookings: http://www.theproductioncompany.com.au/

Cabaret, Cabaret Review, Events, Festivals, Musical Theatre, Opportunities, Performances, Whats On

REVIEW: Melbourne Cabaret Festival Presents ADAM GUETTEL IN CONCERT

You won’t want to miss this

By Kim Edwards

A music theatre icon quietly strolled into Melbourne this week for a few modest and intimate performances at this year’s Melbourne Cabaret Festival. With a simple entourage of an accompanist and a vocalist, the two-time Tony winner joked gently about his failure to bring sequins or spectacle for the festival, but for his fans a piano, a guitar, a stool, microphones and the man himself were all we wanted. Grandson of the legendary Richard Rogers, performer, environmentalist, and lauded composer-lyricist in his own right for some of the most daring and dazzling musicals you’ll ever hear – and nowhere near enough people know his name.

Adam Guettel

Adam Guettel is the musician’s music-theatre maker: his rich, complex songs and lush, romantic arrangements won his 2005 musical The Light in the Piazza the Tony Awards for Best Original Score and Best Orchestration, and the chance to hear him personally debut new material and perform old favourites is an irresistible one for all musical lovers.

My prolonged love affair with Guettel’s work began with a chance encounter with the ethereal and enthralling song cycle Myths and Hymns, and then an abiding fascination with his extraordinary musical Floyd Collins. Emotion drives all his music: there is no sense that he thinks up a melody and tries to fold it into plot or character. First there is a sweeping, encompassing feeling, and then his songs strive to capture that illusive, complicated human experience in music and lyrics. There is the contrary simplicity and sophistication of poetry to his work, and a wonderful playfulness and experimentation with how the voice might express ‘impossible’ experiences, from the joyous opening number of Floyd Collins where the protagonist sings with his own echo to create the immensity of an underground cave he is exploring to Light in the Piazza‘s ‘Say it Somehow’ duet as the young lovers try to describe an embrace with their vocalisations.

Guettel’s love for giving voice to characters who struggle to express themselves is glorious, from the immobilised Floyd trapped in a tiny cave to the emotionally-stunted heroine Clara, and he has continued to explore this with new works based on the novel The Invisible Man, the movie Days of Wine and Roses and Danny Boyle’s enchanting Millions. And hearing a composer perform his own songs is always illuminating: ‘Dividing Day’ for example has new poignance, and ‘Saturn Returns’ and ‘How Glory Goes’ soared to new emotional heights.

With extraordinary Broadway MD Kim Grigsby on the piano and the stunning accompanying vocals of his fiancee Haley Bond, Guettel offers an evening of disarming banter, personal charm, and enriching, thrilling, passionate music. Tonight (Sunday June 30) is your last chance to hear him perform in Melbourne – 7:30pm at Chapel Off Chapel… Seize it!

Bookings: http://melbournecabaret.com/index.php/shows/adam-guettel-in-concert

Comedy, Events, Musical Theatre, Review, Whats On

REVIEW: Legally Blonde – The Musical

Omigod, you guys – Lucy Durack is the new pink!

By Kim Edwards

Appropriately playing at The Princess Theatre (that has enjoyed a facelift in pink lighting for the occasion), Legally Blonde – The Musical has opened in Melbourne. Based on the 2001 Reese Witherspoon romantic comedy, Elle Woods, a beautiful blonde sorority girl from Malibu, is dumped by her boyfriend and decides following him into Harvard law is the only solution for winning him back. It’s fluffy, frivolous, decidedly fuchsia – and wonderfully good fun.

LEGALLY BLONDE key image (c) Brian Geach

Lucy Durack as Elle is simply effervescent: that beautiful lucid voice and irrepressible vivaciousness on stage is coupled with astute comic timing and delicate character nuances. The effect? Irresistible! Rob Mills does a sound job as Elle’s smarmy ex, Warner, and his song ‘Serious’ is a musical highlight. Cameron Daddo is svelte and smooth as predatory Professor Callahan, while Helen Dallimore comes into her own by the second act when she lets loose as Elle’s new best friend Paulette, and Mike Snell is uproariously funny in his cameo as sexy delivery man Kyle. However, it is David Harris who wins the most hearts as scruffy love interest Emmett Forrest: his disarming naturalism forms an appealing contrast to the high theatricality of the rest of the cast.

For this is definite musical comedy, from the cheer-leading dance moves and cute Barbie doll sets to the scene-stealing antics of Bruiser the purse puppy and Rufus the bulldog. Most of the changes made to get the movie onto the stage are admirable, with new topical jokes and witty lyrics: the opening number ‘Omigod You Guys’ and the cheeky ‘Is He Gay or European?’ are both hilarious and endearing. Less successful is the rather awful title song, the problematic implications of the infamous ‘bend and snap’ technique, and the rather silly plot developments in Act Two, whereby we are left wondering what Elle has actually accomplished for her career and her gender if the legal system and ‘real world’ outside of Delta Nu proves to be as ridiculous and sexist as sorority life.

However, these minor quibbles ultimately do not detract from the merits of this particular Australian production. Legally Blonde – The Musical is pretty in pink, joyously energising, and sparklingly funny. The costumes aren’t always as visually exciting as one might hope, but there is plenty of colour and spectacle, elegant and fluid scene changes, excellent character work from the rest of the cast – and Lucy Durack. Come prepared to fall a little bit in love with this show – and a lot in love with its leading lady.

Legally Blonde is now playing at The Princess Theatre in Melbourne. Tickets are available online through Ticketmaster or ph: 1300 111 011.

Musical Theatre, Performances, Review, Whats On

REVIEW: Amity Dry in MOTHER, WIFE AND THE COMPLICATED LIFE

Reality TV star turns music theatre mum

By Jessica Cornish

Swapping her reno boots for stage shoes, Amity Dry the 2013 Block All Stars winner has written and produced her premiere musical comedy, Mother, Wife and The Complicated Life, exploring the not-so-glamorous side of motherhood and marriage.

Following the lives of four female friends, we learn how each woman is struggling to juggle her own situation. Kate (played by Amity) finds herself pregnant to a man she has only been with six months, and feels that motherhood is consistently beyond her.

Mother Wife and the Complicated Life

Meanwhile, Lily (Rosanne Hosking) is believed to have the perfect marriage but business finds her relationship crumbling, Jessie (Rachel McCall) is the young newlywed bridezilla who is determined to maintain her sex life and not become a boring grumpy mother, and finally Bec (Nikki Aitken, who stole the show) provides comic relief as she gets on with all the everyday, thankless tasks that a mother just does.

Disappointingly, the production side of the show struggled at this venue. Several audio cues were missed, leaving cast talking without amplification, and the lighting was poorly focused, creating patchy dark spots across the stage. Some of the staging was odd whereupon on numerous occasions the cast were performing with their back to the audience: it would have been nice to see their faces rather than their back sides.

However, don’t get me wrong! The crowd really loved this show: the audience were consistently laughing and cheering through the performance, so I don’t think they were affected by the technical issues.

The songs were cheeky and blunt, but then serious when needed with some beautiful four-part harmonies. All the performers were excellent singers, and with the majority of them coming from strong musical-theatre backgrounds, their individual performances were faultless.

Mother,Wife and The Complicated Life will be performed tonight at 8pm at Karralyka Theatre in Ringwood East, before heading up to Sydney and Adelaide.

 

SYDNEY: Everest Theatre

Date: 23 May- 1 June, Wed – Fri 8pm, Sat 2pm & 8pm

Tickets: $59.50, Conc $55.50, VIP $89.50

Bookings: 02 9351 7940

 

ADELAIDE: Star Theatre

Date: 7 June, 8pm

Tickets: $49.50, Conc $44.50

Bookings: http://www.motherwifemusical.com/events/Default.aspx?EventGroupID=1

Cabaret, Festivals, Musical Theatre, Review, Whats On

REVIEW: Suitcases, Baggage & Other Synonyms for MICF

Emotional luggage unpacked with wit and musical charm

By Myron My

Debuting at the Melbourne International Comedy Festival after a previous Fringe appearance, Suitcases, Baggage & Other Synonyms starts with a bang (literally). This is a musical comedy show about five friends living together who are trying to determine where to go on a holiday.

Suitcases Baggage and Other Synonyms

Along the way to reaching an agreement, they and we are faced with many distractions and songs.

There is snappy and witty dialogue throughout Suitcases, Baggage & Other Synonyms and the show is littered with fun pop-culture references and expressions. The self-referential humour is done well and the laughs are extremely strong during the inane conversations that the housemates have over such important topics as how long should you leave yoghurt out of the fridge for…

There are strong performances present and the characters have been embraced by all the cast (the 2011 Melbourne Short+Sweet Cabaret Gala finalists Hannah Daniel, Sarah Jackson, Casey Dolcetta, Melissa Kahraman and Barnaby Reiter). The acting is excellent with special mentions going to Dolcetta for her ability to subtly command the audience’s attention and Jackson for her hilarious portrayal of an OCD-suffering comedian-in-the-making. The musical composition by Reiter is very impressive and he plays with great dexterity and skill.

During the songs, the five voices sparkle and nicely complement each other, in particular the New York medley song. Unfortunately, there are a few numbers don’t feel as lyrically tight as the rest of the songs or of a calibre with the acting.  My other disappointment with the songs was the constant changing of speaking and singing throughout the song, making it difficult to fully appreciate melodies and musical nuances.

Suitcases, Baggage & Other Synonyms is ultimately a highly enjoyable performance put on by some very creative and talented people.Anyone who has ever lived in a share house will ultimately be able to relate to at least one of these five people either because they remind you of someone you’ve lived with – or of yourself.
 
Venue: Theatreworks, 14 Acland St, St Kilda

Season: Until 20 March | 8:00pm

Tickets: $25 Full | $20 Conc

Bookings: 9534 3388 or www.theatreworks.org.au