Category: Musical Theatre

Festivals, Musical Theatre, Whats On

MICF 2016: ABBOTT! The Musical

Budgie smugglers and belly laughs!

By Heather Forbes

Fresh from the Adelaide Fringe comes Abbott the Musical for the 2016 Melbourne International Comedy Festival, a somewhat raw, and at times raucous, ‘retro’ musical parody and political satire. The show is very entertaining, at times hilarious, and otherwise mostly funny with its parody and satire of well-known characters, quotes and events from our recent painful political past.

Abbott! The Musical

The show’s original music and script are the product of the Adelaide–based comedy troupe George Glass which consists of three of the production’s actors: Dan Murnane, Alister McMichael and Nic Conway. Real musical and comedic talent energize the production, with songs such as “F*#k ‘Em” sung by a egomaniacal Joe Hockey (McMichael), and a highly sexually-charged “Won’t You Spill With Me” by Malcolm Turnbull (Murnane) and Julie Bishop (Lisa Harper). Conway as Abbott and Murnane as Turnbull steal the limelight as they take their well-impersonated characters into the realms of the absurd (moreso than the other actors). providing many belly laughs. However, the absence of Abbott’s foil or shadow character, Peta Credlin, is a disappointment, as her part in his downfall would have provided great fodder for these satirists.

The use of a ‘Quote’ light to highlight original quotations adds weight to the sharpness and punchiness of the show’s wit, and the magic of suspense. Unfortunately the show’s content is hindered by the limitations of the staging, the poor mixing of the music versus the lyrics at times, and the slackness of the scene changes. 3 & a half out of 5 stars– but still this reviewer had a good time!

Date: 23th March – 3th April

Venue: The Tuxedo Cat 293-299 La Trobe St, Melbourne.

Times:  Tues – Sat 7:15pm. Sun 6:15pm

Ages suitable:  18+

Price: $10 – $27.50

Bookings : www.tixnofee.com or at the door

Musical Theatre, Review, Whats On

The Royal Shakespeare Company Presents MATILDA THE MUSICAL

Simply spell-binding

By Narelle Wood

I had heard from some theatre-going friends that Matilda was a sight to behold, a musical experience like no other. They were right; I don’t think there is a word that completely encapsulates the sheer brilliance of this musical.

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The musical is based on the famous Roald Dahl children’s book. Matilda (Ingrid Torelli on the night attended), a bright child with a strong sense of fairness and justice, is born into a family that doesn’t appreciate her, and to make matters worse must suffer the tyranny of the head mistress, Miss Trunchbull (James Millar). Thankfully Matilda finds solace in her books and stories as well as friends such as Mrs Phelps the librarian (Cle Morgan), Violet (Kathleen Lawlor) and Miss Honey (Elise McCann).

Under the direction of Matthew Warchus the acting, timing and use of stage melds into a seamless and flawless performance; and this was the first preview. There are so many standout performances in this show that it is difficult to name them all. The performances of Daniel Frederiksen, Marika Aubrey and Daniel Raso completely personify the hideous Wormwood family. Millar doesn’t overplay Trunchbull so the character is a believable albeit caricatured evil head mistress and Torelli is faultless in her portrayal of Matilda.

The adult ensemble was also brilliant, transforming from the adult parts to the big kids at school with ease. The kid ensemble was simply astonishing; the future of musical theatre in Melbourne is definitely safe if the talent of these kids are anything to go by. Daniel Stow who played Bruce Bogtrotter with awesome skill, delivered some of the best comedic moments.

Dennis Kelly’s adaptation is so intelligently written that it not only captures the humour and satirical nature of Roald Dahl, but also hints at some of Dahl’s more subtle social commentary. Comedic musical mastermind Tim Minchin is responsible for the music and lyrics, and each song precisely captures the moment and the character’s personality but often in entirely unexpected ways, with a mixture of humour, sentimentality and irreverence. The orchestration (Christopher Nightingale), choreography (Peter Darling), set (Rob Howell), illusions (Paul Kiev)and lighting (Hugh Vanstone) are amazing; such a sleek use of staging and such clever use of all the theatre tricks and techniques to make the magic of Matilda a reality.

There was not one aspect of this show that I did not enjoy, and not enough superlatives to praise it all. I laughed so much I cried, and so many of the musical numbers gave me goosebumps. If that wasn’t enough, it finished off with one of the most fun encores I’ve ever seen. I have never seen anything quite like Matilda. I’m going again; in fact I would have stayed on the night for an encore performance of the entire show.

Venue: The Princess Theatre, Spring St, Melbourne
Season: From March. Wed & Sun 1pm, Sat 2pm. Wed to Sat 7pm, Sun 6.30pm
Tickets: Starting from Full $85| Conc $69
Bookings: au.matildathemusical.com/tickets/tickets/

Image by Manuel Harlan

Musical Theatre, Review, Theatre

Blue Saint Productions Presents: VIOLET

A Glorious and Uplifting Tale

By Bradley Storer

A facially-scarred young woman taking a bus trip through the American South to see a faith-healing preacher in the company of two soldiers who slowly bring her out of her shell – on paper it doesn’t sound like the typical Broadway musical, does it? But Violet, with a terrific book by Brian Crawley and an incredible score by Tony Award winner Jeanine Tesori, is a glorious and uplifting tale that makes a great case for the continuing relevance of the musical as an art form.

Blue Saints Productions presents Violet.
Blue Saints Productions presents Violet.

Sam Dodemaide as the eponymous protagonist is a knockout. Violet’s emotional arc across the 105 minute and intermission-less piece is massive, requiring enormous commitment and stamina to make work. Dodemaide navigates the journey of this closed off and isolated loner through joy, friendship, hope, heartbreak and ultimately healing catharsis with magnificent emotional clarity and heart-rending transparency, with her bright silvery belt cutting through Tesori’s wide ranging styles of music with ease. Luisa Scrofani as Violet’s younger self, who haunts and pervades the stage action, matches so well with Dodemaide that it is easy to forget that the two aren’t actually the same person. Violet’s father is ably played by Damien Bermingham; the complex relationship between the two communicated with palpable reality.

As Flick, the African-American soldier whose encouragement and empathy spark Violet’s own transformation, Barry Conrad has a warm, gentle stage presence and a lovely pop voice that shows remarkable flexibility – however, I felt his big number ‘Let It Sing’ lacked the gospel fire and joy to really make it land, leaving it merely an exercise in riffing without a real emotional heart. Steve Danielsen as fellow soldier Monty fares better; bringing an edge of sexual charisma and danger to his character that contrasts and balances Conrad’s gentler presence nicely.

The ensemble as a whole are wonderful, playing a wide range of characters across the story with small moments that showcase each of them to marvellous effect. Standouts are hard to pick, but Katie Elle Reeve as a rock and roll music hall singer thrills with an incredible and powerful voice, Deidre Rubenstein does fantastic work as both the elderly Mabel and the hilariously voracious prostitute Alice. As the gospel singer Almeta, Cherine Peck brings the house down with her number ‘Raise Me Up’, truly bringing a sense of religious devotion and joy to the role.

The entire creative team, led by director Mitchell Butel, have done a truly spectacular job of rendering this outstanding musical, a must-see for any lovers of the modern musical or anyone looking to be entertained and uplifted in the same evening.

Venue: Chapel off Chapel, 12 Lt Chapel St

Dates: 3rd – 20th March, 2016

Time: 8pm Tues – Sat, 2pm Sat, 6pm Sunday

Tickets: $59 Full, $54 Concession, $49 Group 10+

Bookings: www.chapeloffchapel.com.au, phone 8290 7000, or at the door

Musical Theatre, Review, Whats On

REVIEW: StageArt Presents SATURDAY NIGHT FEVER

Step back in time!

By Deborah Langley

The date is 1976 and Brooklyn heart-throb Tony Manero is a young man with an extraordinary ability to dance. Stuck in a dead-end job he has only one ambition in life – to become the disco king.

Saurday Night Fever.jpg

StageArt’s West End revival production of Saturday Night Fever transports us to the heart of the disco era designed to make you want to jump out of your seat and start dancing!

Starring Mike Snell (Strictly Ballroom, Wicked, Legally Blonde, The Boy From Oz), Sheridan Anderson (West Side Story, Pippin, Our House) and Elise Brennan (Jersey Boys, Guys and Dolls) this production brings to the stage everything you loved about the movie, the music and the decade.

But, as director Robbie Carmellotti says, ‘It is easy to think of Saturday Night Fever as a fun night out with great Bee Gees hits’ – not this production, however. After a bubble-gum style Act 1 which has you moving and grooving, Act 2 reminds you that the 1970’s wasn’t just about great songs and fashion.This show also poignantly explores dark topics such as rape, suicide and racism with a punch that leaves you mesmerized.

Thus Bobby’s (Dean Schulz) version of “Tragedy” allowed me to really hear the words for the first time and be completed engrossed in the heartache which can strike any of us.

Other standout moments included Annette’s (Brennan) heartbreaking rendition of “If I Can’t Have You, I Don’t Want Nobody, Baby”, an amazing dance-off with stunning acrobatics during “You Should Be Dancing” and an exceptional STOMP-type version of “Boggy Shoes”.

The famous music really is the star of this show, musically directed by Tony Toppi, with outstanding choreography by Luke Alleva and a strong ensemble: in particular Alexia Brinsley, Cassie Miller, and Paul Watson (Once, Jersey Boys, Fiddler On The Roof) whose performance as DJ Monty was spot-on and his guitar-playing amazing. Ten more of the cast members brought music to the stage playing live instruments, but unfortunately on the night attended, many of these performances fell flat with poor sound quality – a huge distraction which undermined several numbers.

Nevertheless, this otherwise spectacular new production is a must-see for any fans of the film, the music or the era!

Saturday Night Fever, 11-28 February 2016 at Chapel Off Chapel, 12 Little Chapel Street, Prahran.

Times: Tuesday – Sunday, 7.30pm; Saturday & Sunday, 1.30pm matinee

Bookings:  8290 7000.  www.chapeloffchapel.com.au

Image by Belinda Strodder photography

Musical Theatre, Review, Whats On

REVIEW: MTC Presents LADIES IN BLACK

Sleek, stylish and utterly winning

By Caitlin McGrane

The lead-up to Ladies in Black has been, for me, quite mysterious. It is the creative brainchild of Carolyn Burns (North by Northwest) and Tim Finn, so my expectations were suitably high, particularly because the production is also directed by Simon Phillips (North by Northwest). During the interval of Ladies in Black I struggled to think whether I had ever seen an Australian musical – would Priscilla or Strictly Ballroom count? And generally speaking musicals aren’t my thing, but Ladies in Black was jolly good fun, uproariously funny, and most importantly melted my feminist heart.

Ladies in Black starring Kathryn McIntyre, Kate Cole, Christen O’Leary, Naomi Price, Lucy Maunder, Deidre Rubenstein, Carita Farrer Spencer.jpg

It is the gentle, uplifting coming-of-age story of Lisa (Sarah Morrison), a shy, bookish Sydney teenager in the 1950s and her job at Goodes’ department store. Her colleagues in cocktail frocks Fay (Naomi Price) and Patty (Lucy Maunder), along with the magnificent Magda (Christen O’Leary) and lovely Miss Jacobs (Deidre Rubenstein) softly introduce her to life in the adult world. Although excellently played by Morrison, I found Lisa was sometimes competing for stage space with other characters in ways that felt, to me, a little jarring. That is not to say that anyone or any scene was unnecessary, I think writer Carolyn Burns did an exceptional job of rounding out every character as much as she could, to me this seemed like the consequence of not wanting to leave anyone out because they were all so worth seeing. I particularly enjoyed the (wonderfully oft-repeated song) about men being bastards and the way in which it was the male characters that were sidelined and showed shame for their sexual appetites, neatly subverting historical convention and giving the play a truly modern edge.

My only reservations about the whole production are: I would have loved to see the New Year’s Eve party, and some lines from other scenes sometimes felt like unnecessary exposition. Even though O’Leary’s Magda was terrific rattling through the evening’s events at breakneck speed, I would have enjoyed seeing Lisa and Fay dancing; however, I appreciate that the focus of the play was the women, not their male beaus.
The play is beautifully staged, and the opening of the second act was a particular highlight. The band (Gerard Assi, David Hatch, Matt Hassall, Jo To and Paul Zabrowarny) playing the music (nicely visible behind the stage) were outstanding – each scene felt accompanied by the perfect jazz riff or subtle tinkling of atmospheric music.

Unsurprisingly the costumes (from designer Gabriela Tylesova) were breathtaking, and now I really want to own at least one cocktail frock. Lighting (designed by David Walters) was suitably impressive – moving seamlessly from snowy street to sunny beach to moody bar.

My usual aversion to musicals has been swiftly demolished by this beautiful performance: it was extremely difficult not to get caught up in the whimsical daydreams of all the characters, and I left feeling as though it was the first production I had seen in a long time that didn’t talk down to the audience and really relished in the shiny, glossy newness of a beautiful dress.

Ladies in Black is now playing at The Sumner Theatre at the Melbourne Theatre Company in Southbank until 27 February 2016. More information and tickets at: http://www.mtc.com.au/plays-and-tickets/season-2016/ladies-in-black

Image by Rob Maccoll

Events, Musical Theatre, Whats On

REVIEW: FIDDLER ON THE ROOF

L’Chaim!

By Narelle Wood

Directed by Roger Hodgman and original choreography reproduced by Dana Jolly, Melbourne’s new production of Fiddler on the Roof is a powerhouse production to kick off the 2016 theatre season.

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Written in 1960’s the drama-filled musical, heralded as the first of its kind, has stood the test of time as its themes of tradition, family, love and displacement are just as relevant today. Set in a small village, Anatevka, Russia, the milkman Tevye (Anthony Warlow) is struggling to provide a comfortable life for his family. This includes his five strong-willed daughters, who Tevye hopes to marry off to suitable men that will provide some of the comforts he can not afford. With tensions brewing and the world changing around them, Tevye finds the traditions of his people being challenged by more than just his intelligent and independent daughters’ ideas on love.

The cast is full of some of Australia’s best stars of the stage. Warlow is joined by Sigrid Thornton (Golde), Lior (Motel), Nicki Wendt (Yente) and Mark Mitchell (Lazar Wolf); the latter’s transformation is so superb that I didn’t know it was Mitchell until I read the program. Warlow is also almost unrecognizable as Tevye, embodying all the warmth and humour of the character, yet Warlow’s presence is betrayed by his unmistakably rich voice.

While Warlow is clearly the star of the show for both his talent and the iconic role, the rest of the cast are just as masterful. The onstage relationship between Warlow and Thornton is endearing and Wendt’s portrayal of the matchmaker is as every bit hilarious as the character is nosey. There are several other exceptional performances in this production. Teagan Wouters (Tzeitel), Monica Swayne (Hodel) and Jessica Vickers (Chava) are all impressive as Tevye’s eldest daughters revealing exceptionally strong vocals.

There were so many moments where I found myself astonished by the talent on stage: Warlow’s rendition of “If I Were a Rich Man” and the ensemble dancers during “To Life” and “Wedding Dance”, for example. However one of the truly standout aspects of this production was the set design by Richard Roberts. Simple and understated but such a clever design concept that allows for such seemingly easy transitions between houses and into the town square.

To be honest, I would have been happy if the performance finished after Act 1 as Fiddler on the Roof had already exceeded all of my expectations; the fact that Act 2 extended this prodigious experience was a delightful bonus. This production of Fiddler on the Roof has certainly set the performance standard for 2016 and it will be a difficult task for others to match.

Venue: Princess Theatre, Spring St, Melbourne
Season: Until 27th Feb, Tues –Sat 7.30pm, Matinees Wed 1pm, Sat 2pm & Sun 3pm
Tickets: From $79.90
Bookings: http://www.ticketmaster.com.au

Image by Jeff Busby

Musical Theatre, Review, Whats On

REVIEW: GEORGY GIRL – The Seekers Musical

New musical relives the making of Aussie music history

By Amy Planner

The Seekers are an Australian icon of the 1960s music scene and they have finally been recognised the way any great stars should – by being further immortalised on stage. Georgy Girl is the vibrant new stage musical story of The Seekers’ rise to fame.

Georgy Girl - The Seekers Musical photo credit Jeff Busby.JPG

When a young insecure Judith Durham joins a folk group for a night, little did she know her life would change forever. Along with Athol Guy the business-minded bass player, Bruce Woodley the keen songwriter and Keith Potger the lady-loving guitarist, they became The Seekers. This musical follows their journey from a local club in Balwyn, Victoria, to the world’s stage and back again.

The casting of this historical musical was superb; the combination of Pippa Grandison as Judith, Phillip Lowe as Keith, Mike McLeish as Bruce and Glaston Toft as Athol could not have been any better. Their spectacular performances were only topped by their musical talent and ability to move so easily from song to song. Grandison has a wonderfully full and versatile voice, stealing the stage with her rendition of “Mamma’s Got The Blues” in Act Two.

Being opening night and a world premiere there were bound to be a few glitches here and there. There were just a few clunky scene changes and a few slight harmony issues, but they are sure to be ironed out with a few more shows. Luckily, there was also  an abundance of very upbeat dancing from the impressive ensemble that kept everyone thoroughly entertained.

Unfortunately the big stylistic change of Judith at the end of Act One was rather uneventful; a famous number like “Georgy Girl” in a show called Georgy Girl should surely have elicited a little more pizzazz. The second act, however, dealt with many more emotional tragedies the band had to face. This handling of this was very delicate and respectful, giving emotional heaviness where due and light-hearted moments when possible. It took a really expressive cast, fine scripting and a well-balanced production team to make these scenes as poignant as they were.

Isaac Lummis has done a sincerely unique job of the costuming for Georgy Girl. The outfits are original and distinctive: it took a truly creative eye to collate so many vibrant and stylistic patterns and shapes so successfully.

The musical team Stephen Amos and Stephen Gray deserve much praise for their work with the cast in bringing The Seekers to life in theatre. The intricate harmonies and beautiful voices would not have sounded so authentic and appealing without their guidance and skill.

The audience at this premiere were luck enough to be graced with a cameo from the real Seekers themselves,  who walked the red carpet and joined the cast on stage at the end of the show. The crowd was delightfully surprised as the quartet took their bows in front of a standing ovation.

This appealing new show highlights a truly exceptional moment in Australia’s musical history and will be a delight for those long-serving and new-found Seekers fans.

Venue: Her Majesty’s Theatre, Exhibition Street, Melbourne.
Season: 22nd December – 21st February, Tues 7pm, Wed 1pm/7pm, Thurs 8pm, Fri 8pm, Sat 2pm/8pm, Sun 3pm.
Tickets: From $60
Bookings: ticketek.com.au

Image by Jeff Busby

Musical Theatre, Performances, Review

REVIEW: Life Like Company Presents CITY OF ANGELS

Cy Coleman’s classic beautifully and stylishly revisited

By Myron My

Life Like Company‘s 2015 production has been the much-loved, Tony-Award-winning musical comedy thriller, City of Angels. Paying homage to the 1940s era of film noir while also taking a swipe at the Hollywood film industry, it is a heavily engaging and engrossing meta-story of betrayal, love, passion and murder.

Dress rehearsal photo from the Life Like Company production of City of Angels. Photography by Ben Fon - http://fon.com.au
Dress rehearsal photo from the Life Like Company production of City of Angels. Photography by Ben Fon – http://fon.com.au

Despite being first performed 26 years ago, the book by Larry Gelbart still come across as fresh and relevant. It may admittedly be a little politically incorrect and chauvinistic for current times (despite being mediated through characters we’re invited to critique) but the cheeky wit and cleverness of the script and the direction of Martin Croft ensure you still enjoy watching the relationships being depicted on stage. Led by Musical Director Kellie Dickerson, the live band superbly bring to life the upbeat challenging jazz score by Cy Coleman, and the cast certainly do justice to David Zippel’s sharp lyrics in their performances.

For those unfamiliar with the work, City of Angels offers two stories simultaneously told on stage. In one, mystery writer Stine (Anton Berezin), is attempting to perfect his latest film noir script while at the mercy of Hollywood film mogul, Buddy Fidler (Troy Sussman). In contrast, the second story (depicted entirely in black and white costumes and set pieces) has the audience entering Stine’s fiction where private investigator Stone (Kane Alexander) is hired by Alaura Kingsley (Anne Wood) to locate her missing stepdaughter and from there on, the plot thickens and the lines between reality and fantasy start blurring.

The whole cast is exemplary in their portrayals of their characters, including elegant body language and accents, with many playing dual roles as they cross over between stories. Berezin and Alexander are highly entertaining to watch as each character faces his own personal struggles, as well as having to deal with each other. Their famous duet, “You’re Nothing Without Me” is a powerhouse number and stays with you long after the curtain drops.

Amanda Harrison as Donna and Oolie, while not having much stage time, is a consummate scene-stealer and her spectacular renditions of “You Can Always Count On Me” and “What You Don’t Know About Women” (with Chelsea Plumley) are highlights of the evening. Wood is a superb choice as the sultry femme fatale Alaura and her chemistry with Alexander has you hanging off their every word and action.

City of Angels has much love and respect for the film noir genre while poking fun at its tropes. This particular production is a sharp and highly amusing show with some stunning performances from its cast. The only thing criminal about Life Like Company‘s latest theatrical creation is that it is on for only four nights, as many more people should be given the opportunity to experience its bite and brilliance.

City of Angels was performed at the Arts Centre between 5 – 8 November 2015.

Musical Theatre, Performances, Whats On

REVIEW: Critical Stages and Shane Anthony Present SONGS FOR THE FALLEN

A witty and sumptuous tragedy

By Bradley Storer

Marie Duplessis, 19th-century French courtesan, socialite, literary muse and all-round party girl who died just after her 23rd birthday and whose life inspired artists from Alexandre Dumas, Giuseppe Verdi all the way to Baz Luhrmann, returns from the grave for one last party at the Fairfax Studio – and this one is going to be a killer!

Songs for the Fallen

Songs for the Fallen is a fabulous melange of tragic musical, bawdy cabaret and pumping pop opera, the writing of Sheridan Harbridge and music by Basil Hogios finding a pulsating and contemporary vitality, appropriate for this story of the original ‘material girl’! The set by Michael Hankin recalls the decaying remains of a 19th-century French apartment but easily transforms into a drug-crazed disco or demented vaudevillian circus upon demand.

Harbridge in the role of Marie Duplessis is a dynamo, a slender and fragile figure with a huge voice encased in fabulous corsets and garters who claims centre stage, shamelessly courts and molests the audience from the get-go and whose boundless charisma never lets up. She is aided by two versatile fellow performers, Simon Corfield and Ashley Hawkes, who assume the roles of various characters as we are taken on a burlesque and irreverent retelling of Marie’s rags-to-riches-and-back-again story. The three work so seamlessly and effortlessly together that they produce the energy and character of an ensemble of ten! Hogios’ score wonderfully and tunefully captures the seductively lush materialism of Marie’s existence in thumping dance beats, as well as her despair at its fragility and lack of inner purpose in gorgeous pop ballads.

It is a credit to the show that even as it pokes fun at any pretence of seriousness or accuracy to the historical context, a beating and wounded heart lurks beneath the surface. Songs for the Fallen captures, better perhaps than any other derivative depiction of Duplessis, the tragic dimension of this complex woman who clawed her way up from the gutter, living in brief splendour only to be consumed by incurable illness that left her alone, wretched and friendless before her death. Refusing to draw a moral or produce judgement, Songs for the Fallen heart-breakingly communicates the senseless and unjust cruelties of the world at the same time it embraces the joy and immaculate pleasure of simply being alive.

Time: 8pm
Date: 29th September – 3rd October
Venue: Fairfax Studio, The Arts Centre, 100 St Kilda Rd.
Tickets: Adult $49, Under 30’s $30
Bookings: www.artscentremelbourne.com.au, 1300 182 183, at the box office.

Festivals, Musical Theatre, Performances, Whats On

REVIEW: La Mama Presents ALPHA

Word play and body art evoke and emote

By Myron My

In this day and age, queer identity is more important than ever. Or is it? In Sebastian Robinson and Tamara Natt’s 2015 Melbourne Fringe production Alpha, the two performers explore the idea of what modern-day queer identity looks like – and if it actually exists. Through poetry, movement, music and sound, the two create a world where the roles we choose to take on in life are revealed and questioned.

Alpha

Robinson and Natt appear on an empty stage, dressed in matching white shoes and black tracksuit outfits. They spend the next 50 minutes creating some beautiful visuals for us not only through their soft and fluid movements and exploration of the space but also through their words. From a Britney Spears song to an Auslan interpretation of a Delta Goodrem song to one of their original works of poetry, Alpha shows how words can do so much to an environment even when you are staring at a relatively empty stage.

Sound designer Milly O’Sullivan, is also on stage with the two performers, creating a live soundscape with her guitar that manages to quietly nestle its way into your mind. Whether it be accompanying the poetry being recited or the scene being acted out or the bodies moving on the stage, O’Sullivan’s sounds heighten every emotion and thought the audience are invited to experience.

At times however, I felt there was so much happening with Alpha and subsequently in my head, that it was difficult to fully grasp and appreciate all the ideas that were being presented. Perhaps this is the point that Robinson and Natt are trying to make with this work. Maybe there is no such thing as queer identity. Maybe the very concept is too big to grasp. There is no constant in the world so maybe we only need to be aware of our own personal identity to love and be loved. Either way, it’s worth your time seeing this show and coming to your own conclusions.

Venue: La Mama Theatre, 205 Faraday Street, Carlton

Season: Until 27 September | Thurs – Sat 10pm, Sun 6.30pm

Tickets: $25 Full | $15 Conc

Bookings: 
Melbourne Fringe Festival