Category: Performances

Performances, Review, Whats On

REVIEW: Jamie Lewis in SALTWATER

Serving up a charming and cultural delight

By Christine Young

Saltwater is an innovative one-woman show from Jamie Lewis who gives the audience a taste of Singaporean cuisine and culture. In 2012, Lewis’s The Stream/ The Boat/The Shore/The Bridge/, created with Dan Koop & Co., received a Green Room Award for Outstanding Production – Creative Agency for Audiences.

Saltwater

This is not surprising.

Saltwater is a gentle and thoughtful theatre experience like no other. Fifteen audience members, guests really, are invited to prepare and eat a traditional Eurasian meal with Lewis. Master Chef this ain’t, so don’t worry, guests are only asked to perform a simple task. In fact, the Saltwater concept and purpose are a refreshing antithesis to the hectic, competitive nature of reality TV cooking shows.

Saltwater is designed to engage all of our senses for a truly visceral encounter. This is a chance to stop, look and listen and enjoy being in the present moment. Lewis creates a relaxed atmosphere, from the background music to subtle decorations, and due to her relaxed style of speaking. Nothing seems particularly contrived. Most of it is, of course. But that’s a mark of outstanding theatre: making the planned look and feel natural.

Lewis encourages guests to talk about their relationship with cooking and culture, though you aren’t forced to speak or interact. It’s not group therapy. Observing and letting everything flow over you is perfectly fine. Conversations lead into invisible segues for autobiographical monologues from Lewis. She covers the experience of growing up in Singapore, under the shadow of her mother’s cooking and kitchen, which expands into contemplation of her parents’ courting days and 35-year marriage.

Lewis also talks about her three-year marriage to an Australian lad, starting with the safe territory of dinner parties, then moving into how newly weds negotiate marriage through love, death, triumphs and differences. These are not simply put down to cultural differences. Lewis recognises that our relationships are informed by all of our relationship experiences from the day we take a breath.

I felt privileged to be part of Saltwater. Lewis is a gracious, friendly and frank host who gives you a peek inside her private world in a way that makes you feel right at home.

Venue: Theatre Works, 14 Acland St, St Kilda
Dates: Until July 12, 2015
Tickets: $30 Full / $25 Conc (plus booking fee) Saltwater / Letters Home Double Bill – purchase a ticket to both shows for only $50 full price or $40 concession.
Booking: www.theatreworks.org.au

Image by Sarah Walker

Cabaret, Performances, Review

REVIEW: Anni and Maude Davey Present RETRO FUTURISMUS

Fabulous fashion but short on thrill

By Myron My

There wouldn’t be – or shouldn’t be – anyone with an interest in the arts who is unaware of Maude and Anni Davey. Working in theatre, burlesque and circus for decades, the twins have certainly left a name for themselves. In Retro Futurismus, they join creative forces with Anna Lumb and Gabi Barton to present an evening of vaudeville entertainment with a sharp referential nod to retro science-fiction film-noir pop culture. Sound like a whole lot to take in? Well it is.

Retro Futurismus

Aesthetically, this show is brilliant. The costumes are all eye-catching, and time and time again I caught myself admiring at how much effort would have gone into creating them. In terms of the performances themselves though, I was left feeling somewhat disappointed with most of the twenty or so acts seeming to lack a climax or crescendo to excitement.

Having said that, performance artist Leah Shelton stole the evening with her TV and movie homages, ranging from Hitchcock’s well-known moments of suspense to a particular heartbreaking scene from Bambi. Using the original audio (sound effects included), Shelton created her own interpretations of these iconic moments. Her miming was completely in sync with the audio and her Twin Peaks-inspired Chinese-pole dance was enthralling to watch. Sadly she is only a guest performer for the first week, as other artists are then invited to participate.

The sultry tones of singer Stella Angelico were also very enjoyable to hear but yet again, she is only on for the first week. What is on every night is Maude’s brilliant musical performance in the second half of the show, which was also the musical highlight of the evening, creating some tender and emotive responses from the audience. Similarly, the succeeding act by Anni was a touching, poignant moment which fuelled introspective thoughts.

I’ve seen some of these performers do amazing things on stage and was incredibly excited to be seeing them again, but I walked out of Retro Futurismus thinking that for all the bang and pop and retro aesthetics, it needed some more substantial ‘wow’ moments to really draw me in. Hopefully the future guest artists will be able to match or even exceed the brilliance displayed by Shelton and Angelico.

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne
Season: Until 28 June | Wed- Sat 7:30pm, Sun 6:30pm
Tickets: $38 Full | $30 Conc
Bookings: fortyfivedownstairs or 9662 9966

Image by Ponch Hawkes

Performances, Review, Whats On

REVIEW: Rick Price in THE JOHN DENVER STORY

Not to be missed if you’re a fan

By Lyn Collett

This concert starring Rick Price and The Colorado Quartet is the return season of Take Me Home Country Roads: The John Denver Story which has recently been touring the east coast of Australia. Australian singer/songwriter Price tells his story superbly, singing many of Denver’s popular hits whilst narrating the story of the famous entertainer’s life.

The John Denver Story

Price – a self-taught artist and a multi-instrumentalist – does Denver proud whilst being ably supported by The Colorado Quartet, all of whom are very talented in their own right, with Ed Bates on pedal steel,Tim Matthew on bass, Roger Bergodaz on drums and Greg Field on violin and mandolin

The music has you singing along, clapping, tapping your feet and enjoying the humorous asides as well as feeling the emotion of John Denver’s incredible talent but personally sad life story. Stage setting and lighting both subtly added colour, light and shade to the impact of the various songs, but the first act was slightly marred by sound issues which left vocals unbalanced and obscured lyrics. Fortunately this was mostly resolved by the second half of the show, and ensured Rick Price’s final vocal tribute to Denver, “Sunshine on my Shoulder”, is beautifully done and incredibly moving.

This concert is produced by Room 8 – founded by Moira Bennett and Simon Myers and has been written by Australian theatrical producer Jim McPherson.

The John Denver Story will be playing at the Athenaeum Theatre, June 9 – 13 before finishing its season in Perth.
Bookings: 13 28 49  or ticketek.com.au

Cabaret, Cabaret Review, Performances

REVIEW: Alexandra Keddie in I SEE ME; AND MERYL STREEP

Ambition, audacity and well-crafted comedy

By Myron My

Everyone has had an actor, singer, athlete or celebrity of some sort that they idolised and dreamed of becoming. As people get older they generally grow out of the fantasy, but not 17-year old Alexandra Keddie. She maintains she wants to be Hollywood actor, Meryl Streep – or at least be just like her. Welcome to her new cabaret I See Me; and Meryl Streep.

I See Me; and Meryl Streep

The stage immediately reminded me of when I was a teenager (and my own bedroom was adorned with posters, and memorabilia from Buffy the Vampire Slayer). On display, Keddie appears to have copies of every single film Streep has ever made, photos and posters, cushions and clothing with her face printed on them, and a signed framed image of her too. The finishing touch is the “Mountain to Meryl” chart, where she has a picture of Meryl’s face at the top of a mountain and her own at the bottom. Each time Keddie’s character perfects a new skill or accent in her cabaret quest, she climbs up the mountain, inching closer to her idol.

At one point in her tale, Keddie takes us through “The Many Voices of Meryl” and this is by far the highlight of the show. She is not only performing in a complex variety of accents, but she is performing them as Streep would, and it is truly uncanny how much she sounds like the three-time Oscar winner. When she reenacts her Margaret Thatcher and Miranda Priestley, you could close your eyes and swear you were listening to The Iron Lady and The Devil Wears Prada. The simple costume choices used for each role are also highly effective.

When not being brilliant in her mimicry of Streep, Keddie convincingly toes the fine line between portraying an innocent fan and an obsessed fanatic. Sure, the glint in her eyes and the way she speaks when talking about Streep may sometimes scream ‘stalker!’, but at the same time, the desperation in her voice and the desire to be successful add the nuances of an upcoming artist who has simply found someone who truly inspires her. There were a couple of moments though, where I felt unsure as to what Keddie was trying to say, more so with the inclusion of material about John Cazale. Up until that point I had not known who this person was or that he was such an influence on Streep, and unfortunately I felt the link between them wasn’t made very clear.

Keddie is either legitimately a huge fan of Streep herself or has spent much time researching her in order to be able to weave anecdotal stories of Streep and her Hollywood career together so seamlessly overall  in I See Me; and Meryl Streep. This is an extremely clever and humorous show not only delving into the world of fandom but also offering some insight into the life of a young woman who has a dream to be ‘someone’. And after all, what is so wrong with that?

The premiere season of I See Me; and Meryl Streep was performed at The Butterfly Club, 3 – 7 June 2015.

Performances, Review, Theatre

REVIEW: Emilie Collyer’s DREAM HOME

Renovation nightmare comes true…

By Christine Young

What ‘sort of people’ are you? This is a question that dogs the central characters of Dream Home, a play about a suburban couple whose renovations become a manifestation of their fears and desires.

Dream Home

The play opens with protagonists Wendy and Brian front-of-stage explaining why they are ‘going up’: adding an upstairs retreat to their house, that is. Wendy is especially worried about what the neighbours think so they have been invited round for a BBQ. Have they become the kind of people who want a room with a view? And what’s that stench seeping through the crack in the wall?

So from the outset, Dream Home breaks down the imaginary fourth wall between players and audience. The characters represent the audience and connect with them while they struggle to bond with each other. They address the audience directly or with humourous asides throughout.

Playwright Emilie Collyer explores the Australian dream-nightmare with compassion and humour. The ordinariness ‘living the dream’ is set against the nightmarish bubbling of subconscious yearnings represented by the mysterious house extension.

At this intersection of reality and fantasy, the audience is challenged to suspend disbelief at the peculiar smells, sights and apparitions projected onto the wall.

There is a Shakespearean quality to the fantasy world reminiscent of Hamlet and Macbeth. The characters are haunted by the past, experiencing an internal struggle between who they are, who they want to be and how they want to live.

The performance is a culmination of an intelligent, carefully structured script brought to life by skilful direction from Luke Kerridge. Kerridge has a firm grasp on the scenes’ pace and transitions; and he understands who the characters are, where they have been and where they are going.

And the seven actors display a profound understanding of the characters they are playing. In particular, Emily Tomlins (Wendy) gives an intuitive performance imbued with empathy and wit. And Olivia Monticciolo stands out as Elise, a 20-something comedian who gate-crashes the BBQ and the play.

The current season of Dream Home presented by Darebin Arts Speakeasy is almost over so there’s not much time to catch this remarkable play which was shortlisted for two playwrights’ awards.

Venue: Northcote Town Hall, West Wing Studio 1, 189 High St, Northcote
Dates: Until June 3, 2015
Tickets: Adult $29, Concession $25 (Student, Health Care Card, Equity Members), Group 4 or more $25
Booking: www.northcotetownhall.com.au

Warning: Contains Strong Language, Partial Nudity, Simulated Sex, Not suitable for Children

Musical Theatre, Performances, Review

REVIEW: Manila Street Productions Presents SONDHEIM ON SONDHEIM

Musings of the man on his music

By Bradley Storer

With Sondheim on Sondheim, Manilla Street Productions assembles a star-studded cast to perform a revue of Broadway’s most prolific living composer, an evening of Stephen Sondheim’s music intercut with projections of the man himself with a variety of anecdotes and details relating to his life and song-writing. Among the cast were leading lady of Australian music theatre Lucy Maunder, Rob Guest, Endowment winner Blake Bowden, Martin Crewes, Delia Hannah, Michael Cormick, Lisa-Marie Parker, Anton Berezin and Australian theatre legend Nancye Hayes.

Sondheim on Sondheim

The structure of the show itself, songs and scenes from Sondheim’s oeuvre presented alongside exclusive interviews with the composer himself, is problematic – none of the songs can gain enough momentum to hold the audience before they are interrupted by snatches of interviews, and thus the flow of the evening drags. Sondheim himself is a charming and engaging presence onscreen, and hearing him speak on various topics is one of the joys of the performance. By the second act, the portions of Sondheim’s interview are more smartly dispersed alongside longer numbers which allow some much-needed momentum, leading to wonderful group songs like the self-parodying ‘God’, ‘Opening Doors’, ‘The Gun Song’ and ‘Smile Girls!, an Ethel Merman number cut from Gypsy.

The all-star cast seemed surprisingly tentative, too unsure to invest themselves in their individual numbers enough to perform a ‘star turn’ – which unfortunately is what revues such as this need to stay afloat. Maunder’s Act Two strip tease, ‘Ah, But Underneath’, was the closest the evening came to a show-stopper and allowed Maunder (who earlier delivers a touching performance of ‘Take Me to the World’) to unleash scintillating dance skills and charismatic sexuality, but was undercut by the entrance of the male ensemble and an oddly dissatisfying climax to the number. One of the greatest moments of the evening was the simplicity of watching Hayes grabbing a stool and taking centre stage to sing with heart-breaking simplicity the famous ‘Send in the Clowns’.

The orchestra, under the capable direction of Kellie Dickerson, were in great form, performing the new arrangements with great zest and skill – one mistake however was the choice of a slower tempo for the explosive ‘Franklin Shepherd Inc.’, a show-stopper that requires manic and frenetic energy to work, leaving Crewes’ valiant attempt to deliver the number underwhelming.

Sondheim on Sondheim unfortunately fails to deliver on the promise of its incredible cast and rich material, finding only moments here and there which capture the deep well of emotion and beauty within’s Sondheim work – the show itself has structuring issues which certainly don’t help the creative team and need more time and finesse to overcome.

Venue: Melbourne Recital Centre, Elisabeth Murdoch Hall, corner of Southbank Boulevard and Sturt St.
Date: Saturday 23rd May, 2015
Time: 2pm & 7:30pm
Tickets: A Reserve – $69, $59 Concession, B Reserve – $59, $55 Concession
Booking: www.melbournerecitalcentre.com.au, 03 9699 3333, at the box office.
Events, Performances, Review

REVIEW: Barking Spider Theatre Presents ONE SUITCASE: FOUR STORIES

A feast of fond stories and fine pasta

By Myron My

In Italian culture, family and close friends always enter the house from the back door, the thinking behind this being that the back door leads to the kitchen and the kitchen is where everything happens. So, in Barking Spider Visual Theatre‘s latest production, One Suitcase: Four Stories, it’s only fitting that we are taken round the Northcote Town Hall and enter through the venue’s back entrance.

One Suitcase Four Stories

Our host Linda Catalano welcomes us with open arms into her ‘kitchen’, and in looking at the set design by Tristan Shelley, you would indeed think it was a real kitchen that has been in use for years and thus filled with many stories to tell. We take our seat at one of the five dinner tables with six other people and immediately, we all have a sense of familiarity with each other, and conversation and jokes flow.

This is the power of good food, and Catalano implores us to eat! There are plates of antipasto, cheese and meats that must be consumed. Don’t wait for others to go first, just eat! Throughout the course of the night, as we also feast on Catalano’s generational recipes of lasagne and cannoli, she tells us tales of her zias and nonna and how they came to be in Australia. Catalano has great timing and pace as a storyteller and we hang off every word she says about the often heartbreaking stories of the women in her life.

Catalano also gets visually creative with her tales and uses various kitchen implements and foods to portray her family members, such as pizza cutters, aubergine, a bialetti and a massive pot of pasta to be her nonno. As bizarre as this representation sounds, it works in building a stronger connection with the audience and the descriptive language she uses further enhances the visual images we are creating.

It’s reached the point where I don’t even need to read what a show is going to be about when it is produced by Barking Spider Visual Theatre. The company’s aim is to share stories of human connection through various mediums and this one is just as strong as anything else of theirs I’ve had the pleasure to see. One Suitcase: Four Stories is full of heart-warming stories of love and belly-warming Italian food.

Venue: Northcote Town Hall, 189 High St, Northcote

Season: Until 17 May | Sat 7:30pm, Sunday 1pm

Tickets: $45

Bookings: Northcote Town Hall

Events, Performances, Whats On

REVIEW: Arts House Presents ENDINGS

Finding words about death

By Myron My

There is a familiar smell in the air as I take my seat at Arts House theatre space in North Melbourne Town Hall. Even though I can’t quite put my finger on what it is, it feels like rain on a cold, wet night with mist and fog in the air, which subsequently fits in poignantly with the show I am about to see: the show about death. In Endings, Tamara Saulwick explores our attempts to stay connected with loved ones after they have passed away.

Endings

Saulwick explores this concept in a very intimate setting with pre-recorded conversations with people who have lost loved ones as well as opening up about the death of her own father. These recordings and conversations describe not only the moments leading up to the death but the thoughts and actions immediately following. One person mentions photographing the deceased with family members and another recalls the shock of hospital staff at a request to bathe the deceased.

For those who have been affected by death, there are many emotions to be felt, and while most of the show deals with the nostalgia and sadness of death (the more ‘gentle’ of emotions), Saulwick also captures the fear and terror perfectly in a scene that, even though it lasts just seconds, lingers on for quite some time after.

There are numerous poignant moments in Endings, including the musical interludes by Paddy Mann. His songs are heartfelt yet simple with a soothing voice that brought up my own experiences of death and memories that seemed long forgotten. Approaching the seven-year anniversary of my mother’s passing, I couldn’t help but get a little emotional and once the lights came up at the end of the show, it was clear I was not the only one.

Speaking of lights, the lighting set and design by Ben Cobham is perfectly executed in Endings, capturing the profound mood and the themes of the show flawlessly. Spotlights appear on the performers, swinging lights cast shadows over the set pieces and the way the lights themselves move feels like they are spirits themselves, floating on stage.

Everyone will die. It is inevitable, yet it is also one of the most difficult things people can face. It comes as a surprise when death happens, as if we were supposed to be spared from this experience. Endings reminds us how to keep the memory and the stories we’ve shared with these people alive. It is the perfect tribute for anyone who has ever lost somebody they loved.

Venue: Arts House, North Melbourne Town Hall, 521 Queensberry St, North Melbourne

Season: Until 17 May | Thurs-Sat 7:30pm, Sat 2pm, Sun 5pm

Tickets: $30 Full | $20 Conc

Bookings: Arts House

Events, Performances, Whats On

REVIEW: Arts House Presents FLUVIAL

Hypnotic, evocative and engrossing performance

By Myron My

It begins with a single chime that resonates through the room. It lingers in the space, bringing a calming, meditative state over the audience, and just as it ends another one begins and another and another.

Fluvial

I can only begin to wonder how composer and performer Matthias Schack-Arnott even began to visualise his installation for Fluvial. It consists of two rows about five metres long, of various metal rods, aluminum tubing and glass bottles running parallel to each other. A number of bottles and chimes hang from above with fishing wire, seemingly floating in the air. The pools of water along the rows and the name of the show itself, make this “river of percussion” a sight to behold.

Planted between the two rows is Schack-Arnott, our sole percussionist. As he slowly travels his way down, he creates a variety of sounds, some harmonious and some chaotic but even these latter create a sense of stillness in your mind. He is completely in the moment and the focus and concentration on his face is evident. You get the impression that every single drop of water splashed out of the pool and every clinking glass have been meticulously planned by Schack-Arnott.

The lighting design by Travis Hodgson works very well with the environment that is being set up. There is only a low light following Schack-Arnott, with everything else remaining in darkness. The only exception to is the sharp flashes of light that are formed by the materials on display. The feeling that the past and the future are not worth thinking about and our focus needs to be on the present is prevalent in the piece.

It’s no surprise that Fluvial won Schack-Arnott the 2014 Green Room Award for Outstanding Work by an Emerging Artist. It’s an enchanting piece of work that allows you to slow down and not only truly appreciate what you are watching and hearing, but also reflect on the effect it is having on you.

Venue: Arts House, North Melbourne Town Hall, 521 Queensberry St, North Melbourne

Season: Until 17 May | Thur-Sun 6:30pm, Fri 8.45pm, Sat 3.30pm, Sun 4pm

Tickets: $30 Full | $20 Conc

Bookings: Arts House

Comedy, Performances, Review

REVIEW: Simon Taylor’s PERSONAL BEST

A personal favourite

By Christine Moffat

Upon introducing himself, Simon Taylor establishes he is a charming comedian. He is prone to serenading audience members, learning their names and chatting amiably with them from the stage. He lulls you into chuckles, and a more comfortable position in your seat. You smile, sip your drink and begin to relax. Once you are better acquainted, the content is riskier, but delivered suavely and with an infectious sense of fun.

Personal Best

Tayor is a writer as well as a performer, and has written for some big-ticket shows, including The Late Show with Jay Leno. His skill with words is crucial for his darker material to work when mixed in with his lighter banter. His fluid syntax is like good piano playing: unlike his piano playing, which is better that your uncle’s but not as good as your high school singing teacher’s. He tinkers with words to make sure they fit, to make sure you are surprised with them (a key ingredient to laughter) and to make sure you remember and think about them later.

However, Taylor’s smooth style does not mean his show is good for ‘all ages’. Your under-15s should probably do something else for the evening, unless you enjoy discussing curses and ‘adult’ concepts on the tram ride home. Taylor swears liberally when the story requires it, and writes a killer dick joke. Not despite this, but because of it, he is all the more urbane and funny.

In a storybook, Taylor would be Prince Charming’s wingman: the guy that shakes his head at his mate’s girlfriends, and goes to the State Library to pick up the geekyicious babe knitting a tea cosy. In an intimate comedy room like downstairs at The Butterfly Club, and at his Personal Best, Taylor is Prince Charming… if the prince was (a lot) shorter, had that Melbourne combination of romance and cynicism, and knew how to use hair product.

So, when you have the chance to see Taylor perform, take it. You will travel the world: discuss love, life, lust and death. You will discover just how diverse a comedy crowd can be (Antarctic honeymoon anyone?), have a bloody good time, and if you’re lucky, maybe even meet his Nonna.

Simon Taylor’s Personal Best was performed at The Butterfly Club as part of the 2015 Melbourne Comedy Festival. His next performance will be the FREE special-event, live-taping of his best stand-up comedy material on May 5: see http://www.eventbrite.com.au/e/simon-taylors-stand-up-comedy-special-live-taping-tickets-16745795124 for more information and to register for attendance.