Category: Performances

Dance, Performances, Whats On September 21, 2015September 21, 2015

REVIEW: Devize Co Presents PLUNGE

It begins with a single touch…

By Myron My

Having seen Plunge when it was in its early stages of development last year during La Mama’s Explorations season (then known as Blending), I was very interested to see how the work had progressed. Being performed at the 2015 Melbourne Fringe, the work explores the infinite number of outcomes that can result from a single touch. Some are good and some are bad and some are absolutely crushing.

Choreographer and director Darren Vizer continues to push his two performers, dancer Joel Fenton and actor Jean Goodwin, to their extremes relentlessly. They share a good chemistry and have clearly worked hard at driving through the more challenging moments of Plunge and allowing the piece to evolve.

Fenton’s dance sequences clearly demonstrate how his body has been taken over by his emotional state and he uses the whole space to bound, leap, and throw himself around the stage. The music and sounds used to further convey these feelings are well chosen, especially the rapid beating of the heart in the second story.

Goodwin’s monologue on loving and owning her body is a powerful statement about the constant threat women face just for being women. Her command of the statements she makes and the pace with which they are delivered are full of angry confidence. She wants to be heard and she wants to make sure we hear her. It’s a speech that should resonate with each and every single woman out there as well as to every single man who has female family members, friends or partners.

What drew me to Plunge initially was the challenge of having a performer, who is predominately a dancer, acting – and vice versa. This idea has been further developed, especially with providing Goodwin a solo dance moment. However, while her commitment to the piece is evident, I ultimately had difficulty understanding the purpose of what was trying to be conveyed by this inclusion. Similarly, I would have liked to see Fenton be slightly more aggressive in the final story to really drive home Goodwin’s response.

Plunge took on its new name as the performers were no longer blending their two art forms but immersing themselves in it. Similarly, one could also say that it’s about what happens when we take the plunge into romance without quite knowing what the outcome will be. Despite its minor shortcomings, this is still a highly intelligent and insightful piece not only exploring relationships, but also the way the society in which we live operates.

Venue: Fringe Hub, Arts House, 521 Queensberry St, North Melbourne, 3051

Season: Until 24 September | Tues-Sat 10.30pm, Sun 9.30pm

Tickets:$25 Full | $15 Conc, Cheap Tuesday

Bookings: Melbourne Fringe Festival

Festivals, Performances, Whats On September 21, 2015

REVIEW: KIN Collaborative Inc. Presents POP|PRESS

Cult classic in the making

By Bradley Storer

Like murder? Mystery? One Direction? If you said yes to any/all of these, then Pop|Press at Melbourne Fringe 2015 is definitely the show for you!

Filled to the brim with pop-culture allusions, the comically convoluted story mashes together a charismatic boy band member leaving to go solo, the disappearance and possible murder of an Australian female rapper and the machinations of a morally ambiguous corporation into a mysterious Illuminati-like conspiracy, tied together by the narration of an investigative journalist’s podcast.

William Hannigan brings a low-key, smouldering magnetism to the role of Heath Row, the defector from major boy band Se7en Moments of Malibu, aided by a wondrous pop voice that channels the aching emotionalism and twangy falsetto of every modern tween male pop idol. His compositions for the show truly do hit the ear as modern pop hits, with melodies that make you bop in your seat but with lyrics that niggle at the brain.

Another highlight is Michelle Brasier as rapper Igloo Fantasia, an Iggy Azalea rip-off combined with a gutsy Gaga-esque belt. Her rendition of feminist revenge anthem ‘Manspread’ is still caught in my head! Behind both these leads is an incredibly versatile ensemble, who skilfully double as the various other characters as well as back-up dancers and singers.

When the scene changes aren’t accompanied by the serial-spoofing narration, transitions can be a little clumsy, and as the story picks up pace and tensions mount the songs can start to feel a little superfluous. One particular number, a ballad mourning the death of a goldfish – although hilariously and thrillingly belted out by Brasier – seems to come out of nowhere and doesn’t seem to contribute significantly to the story.

These small quibbles aside, Pop|Press is a delight for lovers of pop (both musical and mainstream) culture, with a score that will leave you humming the tunes long after you’ve left the venue.

Dates: Friday 18th September – Friday 25th September
Venue: The Ballroom, Lithuanian Club, 44 Errol St, North Melbourne.
Time: 10:30pm (9:30 Sundays)
Price: Full $22.50, Conc. $18, Group (6+) $20, Cheap Tuesday $18
Bookings: www.melbournefringe.com.au, 03 9660 9666, at the door.

Performances, Review, Whats On September 11, 2015

REVIEW: The Intergalactic Nemesis

Irrepressible and impressive fun

By Rachel Holkner

It is difficult to describe The Intergalactic Nemesis. Is it a traditional radio play, but with pictures? A graphic novel plus sound effects? A troupe of storytellers with a piano and a laptop? They introduce themselves as a “Live-Action Graphic Novel” but this performance is so much more than that. With a history reminiscent of other science-fiction radio dramas adapted for stage or screen (Orson Welles, Douglas Adams), The Intergalactic Nemesis the stage show is adapted from a stage play, in turn adapted from a radio drama and now also available as a comic book and video series on Youtube. So does the story itself warrant this multi-media attention?

It’s a traditional tale of alien invasion set in 1933 with a mismatched team of heroes destined to save the Earth. But it’s not the story that will draw you to see this show: it’s the unusual production, the performance and the promise of “awesome”. On stage is a table of mysterious objects, a laptop, and a piano. Through projected illustrations, an improvised soundtrack and live sound effects the story unfolds across space and time.

The three actors Rachel Landon, Christopher Lee Gibson and Brock England are a delight in hamming up their somewhat stereotypical roles as characters in this 1930s sci-fi mystery story. If there had been any sets they would have been chewed to pieces by these enthusiastic performers. Having the 1,200 illustrations projected behind the players, with the computer being on stage, gave an air of being shown a giant Powerpoint presentation. The art matched the atmosphere perfectly, yet I felt it wasn’t always necessary as the action on stage was much more appealing.

With over half a dozen parts each, the trio not only spoke their lines but acted out their roles as much as standing behind a microphone allowed them .Accompanist Harlan Hodges very successfully fleshes out the show with a wide variety of mood music, trills and stings on the piano, yet it is foley artist Kelly Matthews who steals the show.

Even watching her prepare various props for upcoming scenes was fascinating as you’re kept wondering what each strange object might be used for. Concrete blocks, sheets of plastic, odd packets and tubes make a huge variety of creative sound effects. A small box of macaroni shaken in just the right way makes for a very compelling steam train chuffing along.

Some of the 1930’s-style jokes unfortunately fall a little flat as they don’t always translate for a modern Australian audience, and there was a big deal made about audience participation during the lengthy introduction which did not quite eventuate as it might if it were a broadcast performance. I can see this working much better with a larger audience of children than the sedate evening performance I attended.

The greatest highlight were the moments when the show became self-referential: when the performers played wonderfully off one another. Most of these moments felt very well-practised however and are in danger of becoming stale. The projected comic images keep the show running exactly to schedule and are unfortunately somewhat limiting as they remove the opportunity for the actors and sound artists, who know their roles so well, to improvise and add freshness to the performance.

Nonetheless, The Intergalactic Nemesis is a terrific family show, highly entertaining and warmly recommended for people who like to know how things work behind the scenes.

See more at http://www.theintergalacticnemesis.com
Dates: 9 – 13 September 2015
Tickets: $30-$45
Venue: Arts Centre Playhouse

Performances, Review, Whats On September 11, 2015

REVIEW: James McLean’s BIG ENOUGH AND UGLY ENOUGH

Assorted anecdotes told with disarming charm

By Jessica Cornish

Big Enough and Ugly Enough follows James McLean’s move from the picturesque Adelaide Hills to the thriving metropolis of Melbourne. Armed with a collection of pieces of junk he dragged down in a box bestowed upon him by his dead grandmother (whose recounted voice somewhat reminded me of Aussie legend Dame Edna!), he tells us witty short stories of his encounters and misdeeds in his new life in Melbourne.

It seems that when you’re a newcomer to the streets of Melbourne you can easily fall into all sorts of adventures: fathering a feline, being robbed by men with a preoccupation with their navels, and landing a depressing job in the hospo industry. At least he could afford to live in an apartment alone near a tramline; being in a share house could have bought a whole other series of dramas.

James put on a great hour show: although initially starting out a little wooden and seemingly uncomfortable, he soon eased comfortably into the performance. His depiction of himself is played in a charming ‘no-frills’ way, and felt authentically like the same guy I might then encounter myself on a Melbournian street. Despite seeming a little flustered before starting at the piano, the few songs included were slick and strongly performed with well-articulated lyrics that even the oldies in the very back wooden pews could understand. Similarly his show was well-written and evidently well-rehearsed, as the smoothness of the audio cues and scene transitions relied on his carefully constructed script. I particularly enjoyed the sophisticated use of voice-overs, subtle light changes and multi-character personas adopted in each story snippet. All these elements combined to add more layers to the performance, and worked intelligently in keeping up the pace of the performance and engaging the audience throughout – a challenge which can sometimes prove difficult in one-man shows.

This show however was quirky, funny and charismatic, and his words painted pictures of some great characters you can find milling around the streets of Melbourne, and talked familiarly of iconic Melbourne hot spots such as Fitzroy and St Kilda. James is a loveable guy on stage, and you can’t help but be on his side throughout the whole night: in fact, even my male date for the evening managed to develop a bit of a crush…

Big Enough and Ugly Enough will be performed as part of the 2015 Melbourne Fringe Festival until September 13 at The Butterfly Club, in the prime time-slot of 8:30pm.

Tickets: https://thebutterflyclub.com/show/big-enough-and-ugly-enough

Events, Musical Theatre, Performances August 19, 2015

REVIEW: Twisted Broadway 2015

“Broadway in a Brand-New Key”

By Bradley Storer

Oz Showbiz Cares/Equity Fights AIDS brought together a stunning ensemble of Australian music-theatre talents last night for Twisted Broadway, a gender-bending re-interpretation of musical theatre’s greatest hits, to raise money for research and developmental programs for people living with HIV/AIDS. The sense of community and giving was palpable, all the performers and creative team donating their time and energy – even the set for the show was donated by The Production Company‘s current show Nice Work if You Can Get It.

Kate Ceberano, one of the evening’s hosts, began the show as a literal MC – the classic character from Kander and Ebb’s Cabaret, spiritedly singing ‘Wilkommen’ and showing some impressive high kicks as she introduced us to the ‘twisted’ male and female ensembles and the Twisted Broadway orchestra, under the direction of James Simpson. She was followed by the glorious tenors of Blake Bowden and Josh Piterman, both bringing lead man charisma to the Jekyll and Hyde duet ‘In His Eyes’, before fellow host Eddie Perfect joined Ceberano onstage to introduce the evening officially.

The first half of the show was dedicated mainly to ensemble numbers, highlights including a cheeky ‘Gee Officer Krupke’ by the female ensemble of West Side Story, a campy male version of ‘Make Him Mine’ by Ed Grey, Alex Given and Drew Weston, a bevy of showgirls accompanying Melissa Langton as she charmingly crooned ‘All I Care About is Love’, a trio of male Lion King ensemblists bringing Motown realness in ‘Little Shop of Horrors’ all the way to Nathan Pinnell leading the ensemble of Anything Goes in a joyous ‘I’ve Got Rhythm’. A few choice solo performances were dotted throughout, Akina Edmonds‘ soulful take on the Schwartz classic ‘Lost in the Wilderness’ standing out in particular.

After a fantastic ensemble opening of ‘On Broadway’ choreographed by Michael Ralph, the second act brought spectacular solos from a variety of performers. Rob Mills hilariously sent himself up in a re-vamped version of the audition sequence ‘Climbing Uphill’ from The Last Five Years, Tom Sharah stole the show with his ‘Don’t Rain on my Parade’, and Queenie van de Zandt brought the audience to their feet in a roof-raising ‘What Kind of a Fool Am I?’. Perfect debuted a charming song from his unseen musical version of the classic Australian film Muriel’s Wedding with help from Casey Bennetto, and the male ensemble delivered a testosterone-charged ‘Be Italian’ led by Mike Snell before Josie Lane closed the evening with a thunderous ‘Goodbye’.

Producers Michael Benge and Kate MacDonald informed the audience at the end of the show that over $50,000 had been raised for Oz Show Business Cares/Equity Fights AIDS, making a perfect end to this marvellous night of music theatre all done in the name of a good cause.

Venue: State Theatre, Arts Centre, 100 St Kilda, Melbourne.

Date: 17th August, 2015

Time: 8pm

http://www.twistedbroadway.com.au/

Image by Kayzar Bhathawalla

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

Performances, Review, Whats On July 23, 2015July 23, 2015

REVIEW: David Stewart in AZURE

An intriguing show is growing

By Jessica Cornish

Magician, mentalist, spiritualist and psychologist David Stewart swung by The Butterfly Club last night to perform his one-hour show Azure to an eager audience in a sold-out venue.

Number tricks were hot on tap, with Stewart showing off his incredible ability to rapidly and precisely manipulate numbers and patterns to boggle the minds of onlookers. Even more impressively, or should I say psychically, he could pluck out random audience members, allow free choice to ensue, and then accurately reveal their thoughts – even naming an unspoken word sent telepathically between a couple celebrating their two-year anniversary.

The show relied heavily on this audience participation, mostly in the form of providing double-digit numbers for random allocation of participants (although it quickly and amusingly became apparent that evening’s clientele at The Butterfly Club were not strongly trained in the art of basic arithmetic and spontaneously conjuring up double-digit numbers was in fact too difficult for some, providing answers like ‘four and four,’ rather than forty-four!)

The show is highly enjoyable and has great potential, and there is no denying Stewart is a capable and entertaining performer. However it seems the show is still developing, and as he tours across Australia and beyond, Azure will continue to benefit as Stewart gains in confidence and ease in his showmanship skills, which will come with more time and experience. Additionally, the performance could have been improved technically by adding audio cues (which could be as simple as incorporating more background music into the performance to break the sometimes awkward silences), and further enhanced by utilising different lighting states where possible to add more dramatic atmosphere. I already believe this show will go from strength to strength, and even in this early evolving stage is utterly fascinating to watch.

Azure is therefore an hour definitely well-spent, and was thoroughly enjoyed by all in attendance last night. The crowd were actively engaged and eagerly participating all night in the web of intrigue weaved by this British mentalist, David Stewart. I would definitely recommended popping in to The Butterfly Club tonight for Stewart’s last performance in Melbourne, starting at 7pm ($34.00 adult, $28.00 concession), just make sure to book in advance to avoid disappointment.

https://thebutterflyclub.com/show/azure

Musical Theatre, Performances, Review July 22, 2015

REVIEW: The Songs of Mackenzie-Spencer and Strano

Once was not enough…

By Adam Tonking

Do you remember the musical revue? Not the latest incarnation where the greatest hits of a deceased or retired composer are swept together so the paying audience get to hear their favourites. I’m talking about an evening where a composer and lyricist team get to showcase their collection of stand-alone songs. Maltby and Shire come to mind. An evening with The Songs Of Mackenzie-Spencer and Strano was just like those glory days.

And what’s glorious about this format is that each new song is its own story: a new character to meet, a new dilemma to be faced, and resolution in six or so minutes. This allows for the exploration of characters and situations that probably wouldn’t be sustainable over a longer work. And boy, did Mackenzie-Spencer and Strano explore some unchartered territory. From addiction to babies, to making incest work, to coping with discount airlines; the quirky situations seldom strayed from the continuing theme of overcoming obstacles. Mackenzie-Spencer and Strano just found them in places Maltby and Shire never dared.

And it was hilarious. Strano has a strong understanding of comedy in song, and Mackenzie-Spencer’s playful yet carefully crafted music elevates the bawdiest of joke to something golden. There were a few tender, more emotional moments, and the team were more than up to the task, to show that they are more than a comedy duo.

The cast were sublime. This was essentially a showcase for the brilliant creations of Mackenzie-Spencer and Strano, but I couldn’t leave without mentioning the cast. Rob Tripolino with his deft handling of incest, Andrew Broadbent with his gorgeous bass voice in “Weekend Getaway,” Stephanie Jones’ sweet awkwardness in “Sandwiches,” Mike McLeish selling the slow-burn story of “Crack Babies,” Keagan Vaskess – a last-minute replacement – who nearly stole the show with “Scientific View” a song about love as science fiction and “Still Waiting” about the expections of becoming an adult after reading Harry Potter, and finally Fem Belling who absolutely rocked the audience with “Kabaret,” a parody of the tropes of cabaret performance. I did feel like the cast could have used more time with the material, but I understand that a concert performance of new songs by new Australian writers would have limited resources to allow this. More’s the pity; the cast were more than capable, and the songs would have shone brighter.

Since this was a one-night only performance, and you won’t have the opportunity to see this show, I insist you take down the names of everyone involved and see everything that they do. Particularly Lochlan Mackenzie-Spencer and Andrew Strano, for there is a limited amount of support for original material for musicals in Australia. And they deserve the chance to become at least as famous as Maltby and Shire.

The Songs Of Mackenzie-Spencer And Strano played at Chapel Off Chapel on June 20th 2015 at 8pm. Since I’d normally give you details where to buy tickets, this time I thought I’d give you details to follow them. Twitter: MS&S (@MS_and_S) or Facebook: Mackenzie-Spencer & Strano

Musical Theatre, Performances, Review July 13, 2015

REVIEW: Flourish Productions Presents THE SONGS OF ALAN MENKEN

From immortal Disney blockbusters to rare musical gems

By Adam Tonking

Alan Menken has a singular talent for writing beautiful songs about longing to be somewhere else. On a bleak winter afternoon, there was nowhere I’d rather have been than at Flourish Productions’ The Songs Of Alan Menken. And clearly I wasn’t alone. A packed Toff In Town necessitated more chairs being brought in to accommodate the enthusiastic crowd for this cleverly staged and brilliantly performed revue show.

The song choices were particularly inspired: some incredible showstoppers from little-known or unproduced works, some more obscure choices from the famous ones, and a sprinkling of favourites simply impossible to omit. A few more obvious choices were neatly packed into a cleverly arranged overture by accompanist Lucy O’Brien. With its simple and effective staging, slick transitions, and some snappy choreography, this show was the perfect package. Add the brilliant music of Menken, and all you need is the cast.

And what a cast. Six performers of such skill that not a moment was lost, not a song failed to hit the mark. Vanessa Menjivar opened proceedings taking the lead in “Zero To Hero,” before blowing us away in “Growing Boy,” handling the food-related innuendo with great style. “Watch What Happens,” a surprisingly complex and difficult song from Newsies, was artfully delivered by Emily Paddon-Brown. Jeff Van De Zandt’s passionate and emotive rendition of “Out There” almost brought me to tears, and Zuleika Khan’s flawless “Mother Knows Best” had them pouring down my face in awe. Khan wowed again in “Suddenly Seymour,” a gorgeously tender moment with an exquisite Liam O’Byrne as Seymour. And Josh Ellwood’s “Need To Know” was a perfect gem of a song. Although it didn’t show off the impressive notes that Ellwood would consistently deliver in the rest of the show, his storytelling was perfect.

Throw in a few group numbers, such as “I Wanna Be A Rockette,” which was so good I can’t believe I’ve never heard of it, and “Lady In The Long Black Dress,” a ridiculous comic song for the men, and the afternoon was perfect. A perfect homage to a composer so beloved for his work with Disney, and so much more to fall in love with. And with a performance of such calibre, I’ll definitely be attending any future shows from Flourish Productions.

Flourish Productions presented The Songs Of Alan Menken at The Toff In Town, Level 2/252 Swanston Street, Melbourne, on Sunday 12th July 2015 at 3pm and Monday 13th of July 2015 at 8pm.

www.flourishproductions.com.au

Performances, Review, Whats On July 9, 2015

REVIEW: Becky Lou in SHAKE

Sexy, funny, resolute and resounding

By Myron My

Fittingly having her Melbourne premiere of Shake at iconic venue The Butterfly Club, Becky Lou lives up to her show’s title. Twirling tassels, bouncing breasts and jiggling buttocks; there is a lot of shaking going on. However, there is more to this show than just sexy and entertaining burlesque routines, as they are interspersed with Becky Lou’s musings on significant moments in her life that have led to her career as a burlesque performer.

Shake is a well-crafted show that allows Becky Lou to expose herself in more than just the literal sense. Beginning with memories of her four-year-old self dancing topless in a supermarket to Madonna’s Like A Virgin, each story that Becky Lou shares has a purpose. It’s not for entertainment value, it’s not to shock us, but it’s to strengthen the relationship women have with their bodies.

Women are being constantly told to cover up yet to “show us ya tits”, are made to feel imperfect yet subjected to continuous sexual harassment. What Becky Lou does with Shake is invite women to reclaim their bodies, to own their bodies and be proud of them. In this regard, Shake reminded me of a similarly beautiful and thought-provoking show in Maude Davey’s My Life In The Nude.

Like so many burlesque performers, these women should not be congratulated or fawned over for being “brave” about performing nude. They should be admired for being strong women who love their bodies and for taking power away from the male gaze. Becky Lou shares stories from her life in a non-confrontational way so that she does not create a divide with the audience. With a fine balance of comedy timing and frustration and derision towards a patriarchal society, we are all equally disgusted when she informs us of the policeman who wolf-whistled at her when she was just fourteen.

The burlesque routines in Shake highlight the skill and creativity that had Becky Lou crowned Miss Burlesque Victoria in 2013, among numerous other titles. She captures the sexiness and the mischief of the art form but each number is unique in style, costume and the character that she takes. The most memorable ones of the evening were her opening and closing numbers, the latter bringing her story full circle and the former showing us exactly why she is a force to be reckoned with in the world of burlesque.

Shake is more than just a show to titillate or excite us. There is heart and truth in the stories that Becky Lou shares with us, and in the message that she wants to get across. At one point, she confesses that she is most nervous about using her voice in the show because it’s not something she usually does in burlesque. She needn’t be nervous at all though, because we are enthralled by every word she says just as much as every item of clothing she removes.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 12 July | Thur-Sat 9:00pm, Sunday 8:00pm
Tickets: $32 Full | $28 Conc
Bookings: The Butterfly Club