Category: Performances

Cabaret, Cabaret Review, Events, Music, Performances, Review, Theatre, Whats On

REVIEW: Camille O’Sullivan in THE RAPE OF LUCRECE

Disturbing and superb

By Bradley Storer

“We’re going to tell you the story of the Rape of Lucrece, a tale full of both beauty… and violence. Be warned – there may be a bit of singing.” With this simple introduction, Irish cabaret star Camille O’Sullivan launched us headfast into an evening of hearty and full-blooded (in more ways than one) story-telling. O’Sullivan, along with her collaborator and accompanist Feargal Murray, has taken Shakespeare’s classic poem and transformed it into what feels like a chamber opera written for a single voice. The performance, produced by the Royal Shakespeare Company, combines Shakespeare’s text in both spoken form and as songs set to original music by O’Sullivan and Murray.

Photo by Keith Pattison

The set is simple, consisting of a backdrop of several windows and the stage floor littered with numerous piles of manuscript. The only other element is the touching presence of two pairs of shoes at opposite ends of the stage – a pair of delicate white slippers, and a large pair of dark leather military boots, representing cleverly the characters of Lucrece and her rapist Tarquin.

O’Sullivan as a storyteller and actress is magnificent, beginning simply telling the narrative but slowly transforming before our eyes into both the menacing and malevolent Tarquin, and the innocent, tragic Lucrece. Filling the stage with her gargantuan presence, O’Sullivan paints the picture of the story and each of its characters effortlessly. With just a sardonic flick of her hand, she can make Shakespeare’s poetry as achingly and horrifically relevant as anything written today. Her wondrous singing voice can soothe and terrify in equal measure, ranging from a low seductive murmur to a full-bodied shriek of agony.

This is not an evening for the faint-hearted – the performance does not shy away from displaying the full horror of events, O’Sullivan so committedly and perfectly embodying the pain of rape and its aftermath that at times it is almost too horrible to watch. Even in Tarquin’s part of the narrative, O’Sullivan shows us the deep ambivalence and disgust which co-exists with the man’s darker impulses. The amazing lighting design throughout contributes massively to the many worlds, interior and exterior, within which the story plays out.

Do not come to this show looking for a relaxing night at the theatre – however at the end of the harrowing tale, we are left with not only sadness but also the deep, primeval pleasure of an epic tale told with immaculate skill.

Directed by Elizabeth Freestone

Dates: January 31st – February 10th , 8pm

Venue: The Sumner, Southbank Theatre, 140 Southbank Boulevard

Tickets: $85 / Conc $77 / Youth $33

Bookings: www.mtc.com.au or 03 8688 080

Events, Performances, Review, Theatre, Whats On

Review: NOT A VERY GOOD STORY by May Jasper

A confession, a sacrifice and an unexpected love story

By Myron My

Let’s get to the point: Not A Very Good Story is not a very ‘good’ story. Not A Very Good Story does not have a strong, confident protagonist. Not A Very Good Story is not told well. But it is for all of these reasons that Not A Very Good Story is in fact, a very good production.

Not a Very Good Story

Our protagonist, Stephanie (May Jasper), works in a call centre and she has a story to tell us. It’s not a nice story either. It’s about cancer. And what happens when a group of people all in the one call centre suddenly get it.

Jasper – who also wrote Not A Very Good Story – is a joy to watch as she plays the awkward and nervous Stephanie who umms and aahs her way through her retelling. This disposition ultimately makes her even more real, authentic and vulnerable to us. Jasper herself is very comfortable on stage and is clearly in her element, talking intimately to the audience for just over an hour without having the safety net of any cues for dialogue.

Even though this is a one-woman play, there are roughly twelve characters that Jasper portrays. Some of these we meet briefly, whilst others are fleshed out more, such as Jen the romantic interest. Jasper takes on some good mannerisms and inflections to differentiate her characters, including changing her voice and posture which helps the audience keep track of who said what when. I did feel however, that a bit more distinction was needed between some of Stephanie’s six co-workers, as there were some slight moments of confusion.

I have seen quite a few one-person performances recently and this one would have to be one of my highlights. Despite the tough subject, this is also a play about a woman sacrificing the woman she loves to save the woman she loves, which makes Not A Very Good Story a great story to experience.

Venue: La Mama Courthouse, 349 Drummond St, Carlton

Season: Until 10 February | Wed, Fri, Sun 6:30pm. Thu, Sat 8:30pm

Tickets: $25 Full | $15 Concession

Bookings: http://lamama.com.au

Events, Festivals, Performances, Review, Theatre, Whats On

REVIEW: The Dead Ones at THEATREWORKS

Remembering those who came before us

By Myron My

The first thing to note about The Dead Ones, now playing at Theatreworks as part of Midsumma Festival, is that this is not like any other performance. There is no acting, there are no characters and there is no ‘script’. The Dead Ones is a presentation, a homage of sorts in which Margie Fischer retells the life of her family, now that she is the last remaining member of it.

Margie-Fischer

Whilst Fischer speaks to us, there is a photo slideshow of her family and the places she describes playing prominently centre stage. Putting faces to the names makes this seem all the more real (even though it already is) and Fischer’s stories seek to strike a more poignant note with the audience.

The thing that disappointed me about The Dead Ones was the level of detachment. Fischer is sharing some deeply moving and personal moments of her life yet I felt little of the emotional connection to what she was saying which I think was pivotal to a piece such as this. I felt in the performance style and language there was a real lack of dramatic rhetoric being utilized.

At times we kept switching from one period of time to another without warning and it seemed as if there were moments where we had already heard particular stories. There was a wealth of tales mentioned about which I – and I’m sure the rest of the audience – would have loved to hear more but it felt like we skimmed the surface of many of these due to the rapid nature of the changes in narrative direction.

Fortunately, these moments don’t detract too much from Fischer’s over-arching and admirable theme of honoring those we have met; those who have lived before us. It was very difficult to not simply go away inside myself and get lost in thinking about the love and loss I have experienced over the years, and the final minutes of The Dead Ones therefore do achieve the show’s goal in being particularly bittersweet and touching.

Venue: Theatreworks, 14 Acland St, St Kilda

Season: Until 3 February | Tues – Sat 7:30pm & 2pm Sat & 5pm Sun

Tickets: $28 Full | $22 Conc

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

Events, Festivals, Performances, Review, Theatre, Whats On

REVIEW: Here Lies Henry for MIDSUMMA 2013

Dark truths and slick lies

By Myron My

Directed by Jason Langley, Here Lies Henry by Daniel MacIvor is the second show to open at Theatreworks during Melbourne’s Midsumma festival. In Here Lies Henry we are treated to a one-man play where we meet the remarkable Henry, and Henry has something to tell us that we don’t already know.

Here Lies Henry

A single spotlight shines down on the stage as Henry (Matthew Hyde) awkwardly enters and breaks the fourth wall: speaking directly to us, interacting with us and at times, flirting with us.

Hyde is brilliant as Henry and has clearly been taken over himself by this character with dual personalities. There is the initial Henry we meet, who is timid, nervous and fidgety and it’s almost a relentless power struggle between him and the angry, loud and erratic Henry.

As we delve inside the mind of this troubled man Hyde creates and retains all the nuances that make Henry who he is. His body language, the fidgeting, his inflections and stutters remain constant and considering all eyes are fixated on him for the whole time, are very impressive. The confidence of being Henry is evident when he even remains in character to acknowledge and welcome some latecomers into the theatre.

Although Blake Garner’s lighting design and James Luscombe’s sound design are at a discreet minimum in this production, they ensure that when they do come into play, they are used at the most advantageous moments to create the most impact.

The great thing about an abstract play such as Here Lies Henry is that we have the freedom to interpret it as we want. Even the title itself could mean here lies Henry baring his soul and self to us or here stands Henry lying to us, as he openly admits he does.

It takes a lot to make one-person shows successful, as having a sole performer in front of you who not only demands your attention but also deserves it is not an easy accomplishment. Hyde does this and then some in a flawless performance. Here Lies Henry is a thoroughly thought-provoking, experimental piece that will leave audiences thinking about it long after they have seen it.

Venue: Theatreworks, 14 Acland St, St Kilda

Season: Until 27 January | 7:30pm

Tickets: $30 Full | $22 Conc

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

Events, Performances, Review, Theatre, Whats On

Review: VIEUX CARRE by Tennessee Williams

A rare classic performed with real finesse

By Tania Herbert

Fortyfivedownstairs must be one of the more atmospheric venue spaces in Melbourne, and the conversion into a seedy New Orleans rooming house for ITCH Production’s Vieux Carré was an impressive use of space. Add the live blues artists to the side of the stage for score, and the stage is set for a fully immersive theatrical experience.

In the Midsumma festival of extremes, subtlety is the new black, and the piece still manages to capture a feeling of controversy by running a delicious line between sensuality and crudity.

Photo by Julian Dolman

Noted as Tennessee Williams’ most autobiographical coming-of-age piece, Vieux Carré follows the awkward character of “Writer” who ends up destitute in the rooming house. Who doesn’t love the tried-and-true Williams model of fast-paced humour descending into heart-wrenching angst? – and despite the obscurity of the play, this is Williams at his best.

The quiet entry of Thomas Blackburne as the everyman “Writer” captured the audience from the opening moment, and his beautiful albeit self-conscious presence plays in contrast to the dramatic and colourful individuals around them who find commonality in their individual tales of loneliness.

For an opening night, this was an astonishingly polished performance, and there was a veteran command of the stage by all performers without exception. The immaculate timing and flawless build-up of intensity plays sentiment to the skill of director Alice Bishop, and her tale in the program of having visited New Orleans in preparation for the played out in the authentic feel.

While difficult to single an individual in such an impressive ensemble, particular highlights included the gut wrenching despair of Stephen Whittaker’s performance, Samantha Murray’s exceptional ability to spout a running monologue without breath and Kelly’s Nash’s wonderful range throughout the play.

Vieux Carré is a little piece of life in a box. Not for the dramatically faint-hearted, ITCH Productions have done true credit to Williams and to Midsumma. Highly recommended.

Venue: fortyfivedownstairs, 45 Flinders Lane

Dates: 17th Jan – 3rd Feb, 2013

Tickets: $40 full, $35 conc, $35 groups 6+

Bookings: www.midsumma.org.au or www.fortyfivedownstairs.com

Circus, Events, Performances, Review, Theatre, Whats On

REVIEW: Cirque Du Soleil’s OVO

An exotic and mesmerising world of wonder and whimsy

By Tania Herbert

As a cheesy American accented voiceover runs through the sponsors, I begin to wonder whether my Cirque du Soleil experience will be all it’s cracked up to be. But I have little to fear. As the lights go down we get a strobe flash of a giant globe of light and impossibly iridescent costumed inserts perched in impossible positions around and above us, and then the show begins.

Photo by OSA Images

To describe Cirque du Soleil’s Ovo is a little like trying to describe a particularly gravity-defying dream. In some ways, Ovo is classic circus. The colourful ringmaster guides us through acts of clowning, acrobatics, tumbling, aerials and jugglers. However, with Cirque du Soleil, everything is turned on its head – often literally. Not only is there juggling, but its foot juggling (while balanced on someone else’s feet). The tight rope is, instead, a slack rope- on which the performer rides a unicycle, on his face (yes, his face).

However there is so much more to the story. The enigmatic “Ovo”, or egg in Portuguese, is the centerpiece of the insect world we are invited into, linking the performances and performers in both overt and subtle ways.  The Brazillian-themed piece weaves in multiple elements- the samba and bossa nova-inspired soundtrack (by composer and musical director Berna Ceppas) is played live on stage by cockroach-costumed performers (the beautiful Marie-Claude Marchand a particular highlight) with lyrics in Portuguese and insect-inspired sound effects. The insects chatter to us and each other throughout, with the lack of words adding to the sense of mystique. The rich three-dimensional sets and phenomenal costuming (by costume designer Liz Vandal) finish off this psychedelic Alice-in-Wonderland-type dreamscape.

And then there are the performances. The aerial silk is a butterfly emerging from a cocoon, the comical worker ants juggle giant pieces of fruit, and the spider contortionist leaves us really wondering how many legs she actually has. The mastery of their art in effortless acrobats and gymnastics are thrown at the audience without breaking pace, and the show moves flawlessly from act to act, with even set changes being integrated into the performance and beautiful to watch. The finale is the definite highlight, where we see crickets and spiders leaping and crawling up an eight-metre rock wall while giant mechanical flowers and showers of petals appear magically from the roof.

There were some small opening night “jitterbugs” – a dropped diabolo cup, a missed rope – and the premiere atmosphere was lacking by the relatively small number of children in the audience for whom some of the slapstick clowning was clearly targeted.

However, the circus magic was in full force, and it wasn’t only the kids who were literally screaming with excitement. Gluttony for the imagination, Cirque du Soleil’s Ovo is the absolute elite of international performing.

Venue: “The Grand Chapiteau” and Cirque du Soleil’s mobile village in New Quay, Docklands

Season: Jan 17th – March 24th

Tickets: http://www.cirquedusoleil.com/en/shows/ovo/tickets/melbourne.aspx

Events, Festivals, Performances, Review, Theatre, Whats On

Review: LITTLE ONES THEATRE PRESENTS Psycho Beach Party

60s spoof cinema becomes Midsumma highlight

By Myron My

Psycho Beach Party is a glorious camp dive into the 60s surf as we follow Chicklet’s (Ash Flanders) journey to becoming a female surfer. Along the way we learn of a psycho who likes to shave women’s hair from top to bottom, witness some “unexpected” love, and meet an overbearing mother with a secret or two of her own.

Filmed as the 2000 queer cult classic of the same name, Little Ones Theatre have brought all the joy and hilarity of Charles Busch’s spoof horror beach flick script back to the stage where it all began.

Psycho Beach Party

The play’s set is adorned with leopard prints as far as the eye can see: umbrella, beach chairs, sand, backdrop and even the majority of the costumes are all decked in various shades and patterns of black and yellow. Despite scene changes, the set never altered and perhaps allowing the audience to cast their eyes on something different would have better distinguished between different locales. The gloriously campy musical numbers – and quirky choreography – were a joy to watch and I did wish there had been a few more of these.

All the performers did extremely well with their characters and they were clearly having fun playing these absurd beach-loving stereotypes. The standouts for me would have to be Flanders, Genevieve Giuffre as Berdine and Zoe Boesen as Marvel Ann. Despite having quite a few different stories with not much narrative direction, the various erratic plots do all get wrapped up quite nicely by the end of the show.

But you are not watching Psycho Beach Party for its storyline or the depth of its characters. It is – dare I say it – like a 60s beach version of The Rocky Horror Picture Show meets Friday the 13th Psycho Beach Party cranks it up to 11 with its over-the-top persona, some sharp (and sexually punning) dialogue and a few fabulous music interludes for good measure.

Playing as part of Midsumma Festival, Psycho Beach Party is as camp as the proverbial row of tents but this is definitely one beach where you’ll want to pitch yours (yes, I went there).

Venue: Theatreworks, 14 Acland St, St Kilda.

Season: Until 19 January | 7:30pm

Tickets: $32 Full | $22 Concession

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

Events, Performances, Review, Stand-Up Comedy, Theatre, Whats On

REVIEW: Yve Blake in AM I GOOD FRIEND?

A truly delightful performer and a wonderful show

By Bradley Storer

Am I Good Friend? is a show which mines, with hilarious results, the gap between our perception and the reality of how we relate to other people. Compiling graphs, pie charts of ambiguous flavour and anecdotal evidence on how to be a good friend, performer Yve Blake embarks on a pseudo-scientific and fantastical quest for what she calls the ‘golden egg of truth’.

Yve Blake

Greeted at the entrance of The Butterfly Club by Blake’s ‘stage manager’, who hands out iced Vovos whilst dressed in a stylish garbage-bag garment, we are handed small cards and invited to answer a personal question or two to aid Blake’s ‘research’. One quick costume change later and Blake herself appears in a make-shift lab coat and begins to ingratiate herself with the audience.

Over the next hour we are taken on a journey through Blake’s history of spotty behaviour as a friend, relayed through multimedia presentations, lip-synched re-enactments of embarrassing conversations and Skype-d testimonials from her closest friends. Given Blake’s sunny and adorable stage presence, this is actually almost too hard to believe!

Blake is a hurricane of delightful comic energy, bouncing off the walls with bright eyes and a wide sincere smile. Along with her goofy and enthusiastic nature, she is also unafraid to shamelessly plug her awkwardness and short-comings for laughs – her comedic commitment to her own humiliation is hysterically funny. Although her approach to her material is high-octane the show never seems rushed or garbled, her remarkable diction worthy of note considering the speed at which she speaks! Blake has a fantastic gift for interacting with and including her audience, finding many clever (and at one point, truly touching) ways to bring audience members into the show.

The hour-long show flies past, and the conclusion is a communal acknowledgement of all our faults and mistakes as friends to others, Blake ultimately managing to find both pathos and humour in the universal experience of loneliness and being an outsider. Ultimately this is an outstanding show which, much like Blake herself, hides a surprising depth beneath its sunny exterior.

Venue: The Butterfly Club, 204 Bank St, South Melbourne VIC

Date: Tues 18th to Sunday 23rd Dec

Time: Tues, Weds and Sun at 8pm – Thurs, Fri, Sat at 9pm

Tickets: $23 / $20 Conc / $18 Group (8+) / $15 Tues

Online: www.thebutterflyclub.com

Phone: 9690 2000

Events, Performances, Review, Theatre, Whats On

Review: NOA at La Mama

Interesting possibilities end up all at sea

By Myron My

I love it when there is something unique or different about a performance and when we were asked which way we would like to enter the stage, I thought that NOA would be one of those experiences. We could enter the conventional way or go up some stairs, down a ladder and be led to our seats in the dark.

There was much anticipation about what was about to transpire as everyone got seated and the performance began. Unfortunately, for the next 45 minutes I sat there often confused, sometimes uninterested and ultimately left wondering about too many things.

NOA

NOA attempted to look at themes of loss, friendship and survival, yet I struggled to find any definitive moments where any of these were explored. Excluding the last few minutes of the show, we were witness to two siblings (Karen Sibbing and Joshua Ferenbach) playing different characters in short skit-like scenes, including Mike the Magician and his “amazing” 3 cans/2 coins trick but nothing particular came from any of this.

The flimsy plot revolves around Noa and his sister – who live inside a bunker built by Noa and are honing their survival skills for their own experiences. The character development was minimal at best and just when I thought we were going to get some idea as to why these characters were doing what they were doing it went back to the surreal character dress-ups. However I must say the commitment which the performers played their troubled characters was a highlight of NOA.

Eugyeene Teh’s set design was the other highlight. Much time and effort had gone into replicating a bunker and encapsulating its claustrophobic and tight environment. Lighting designer Amelia Lever-Davidson further amplified this sensation with her atmospheric changes from darkness through dullness to dazzling brightness.

Overall and unfortunately, NOA felt contrived and had a level of pretentiousness to it that prevented me from connecting with the piece. I appreciate that theatre should investigate unknown areas and be innovative and explorative but unlike Noah’s Ark, this ship sank very quickly for me.

Venue: La Mama Theatre, 205 Faraday Street St, Carlton

Season: Until 21 December | Tues, Wed, Sun 6:30pm. Thu-Sat 7:30pm

Tickets: $25 Full | $15 Concession

Bookings: http://lamama.com.au

Events, Music, Performances, Review, Whats On

REVIEW: Albert Salt and Wintercoats

An exceptional double act wow the crowd

By Myron My

Performing as a double set at Chapel Off Chapel and presented by Fly-On-The-Wall Theatre were two extremely talented Melbourne musicians, Albert Salt and Wintercoats. Despite their two unique and different sounds, the evening still proved to be very successful, if the warm response from the audience is anything to go by.

Albert Salt

Taking the stage first was Albert Salt who entertained the audience with his combination of alternative rock, electronica and jazz music. Salt was supported by Noah Harris and Lachie Bubb, and the latter who was particularly great to watch on the drums. There was much ease and grace in the way he played, despite the obvious level of skill and concentration needed.

The set list played was a great example of the varying skill that Salt has as a singer and musician with the standout tracks being Fear & Loathing and Salt’s closing track This Is Her. The foot-tapping amongst the audience was evident and at times I wished that Salt were simply performing at a pub so that I could get up and dance! There is definitely a bright future for this Triple J Unearthed finalist from 2011.

The second half of the evening was quite a contrast to Salt, where we were treated to a great set by Wintercoats aka James Wallace. Wintercoats took to the stage with nothing but a violin and created a beautiful experience for the audience to take part in.

Wintercoats

Finding every conceivable way to produce sound from a violin, Wallace uses the bow, strums the instrument like a guitar, strikes it with his hands and even blows into it. Wintercoats created a complex experience of overlapping music and sound that had everyone on their own personal journey throughout it.

The backdrop for Wintercoats’ gig was a visual stream of nature imagery, including fires, water, skies and epic landscapes that were filmed in Ireland, Scotland and Iceland. This blended in magically with Wintercoats’ nostalgic and whimsical music.

As we approached his last song, Wintercoats admitted he had never played it before and it could end up sounding like cats meowing, but the risk paid off as we ended a great night on the highest note possible.

The evening was another reminder of the talent that resides throughout Australia and Fly-On-The-Wall Theatre provided these remarkable artists the opportunity to play for audiences who might not have necessarily headed down to a pub to see a local live music gig. Hopefully there’ll be more performances like this coming soon.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran

Season: Until 15 December | 8:00pm

Tickets: $15 Full

Bookings: www.chapeloffchapel.com.au