Category: Performances

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

REVIEW: Joel Creasey’s NAKED

A young comedian on the rise

By Myron My

I first saw Joel Creasey perform at the 2010 Melbourne International Comedy Festival. That was his debut on the circuit and I was very impressed with the wit and the casual bitchiness that he delivered.

Fast-forward two years later and I am sitting at the Melbourne Town Hall watching Joel Creasey’s Naked. (Please take note of the ‘s in that sentence).

Two things I notice immediately. There is a lot more confidence and punch to his routine and the room is a bit bigger than his debut gig venue. Creasey is clearly moving up in the stand-up food-chain. On the flip side, the wrist is still limp so I know it’s still the same guy standing on stage making me laugh.

In Naked, Creasey looks at four themes: fear, secrets, nudity and Xena. I’m not quite sure how Xena fits in with the other three, but hey, let’s go with it! And that’s what you need to do when watching one of Creasey’s shows. He’s a bit like a kid in a candy store: talking really excitedly about everything and anything that pops into his head. Fortunately that anything is usually quite funny.

It’s no secret that Creasey is gay (or at least it isn’t now) and the topic of homosexuality is undoubtedly brought up in the show. Even though it is done with humour, there is a hint of seriousness and social commentary on the difficulties that gay youth experience whilst growing up. Thirty seconds later and you’re hearing about Creasey’s grandmother’s speed-dating experience. You just don’t know what is going to come out of his mouth next.

At 21, Creasey definitely has a lot of potential to just get bigger and bigger in the comedy scene. His self-deprecating humour is a winner with audiences and there is even a lovely surprise for them after the “credits roll”.

VENUE
Melb Town Hall – Backstage Room

DATES
Until 22 April

TIMES
Mon 9.30pm
Tue-Sat 9.45pm
Sun 8.45pm

PRICES
Full $22
Concession $18

BOOKINGS
Ticketmaster 1300 660 013 or at the door

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

Review: VICTORIA HEALY in Independent Woman Part 2

Girl power unplugged

By Myron My

In the back of Melbourne bar, Rue Bebelons, Victoria Healy takes to the stage to perform her 2012 Melbourne International Comedy Festival show, Independent Woman Part 2.

With a swagger of “girl power”-themed musical interludes, Healy discusses various moments of a young girl’s life when she begins to define herself as a woman. She’s not a girl, not yet a woman. All she needs is time…(and I’m going to stop there).

Beginning with “Wannabe” by the Spice Girls, Healy reminisces about her glorious high school days where she would happily compare herself to Scary Spice and later, the unfortunate self-appointing membership to the girl gang; The Fish Crew. Oh, the folly of youth.

Healy continues to get in touch with her feminine side with the aide of asrtists like Shania Twain, Beyonce, and Corinne Bailey Rae. We see Healy’s trials and tribulations regarding hair maintenance, the efforts women will go to to win a jelly-wrestling competition (I really hope this story is true) and even rhythmic gymnastics gets an honourable mention.

On a technical note, my only criticism of the show would be the lighting. Just a touch brighter would have made a world of difference in my eyes – literally. Despite the small stage area, Healy uses it well and this is where you see her improvisation experience and knowledge come into play. The characters she creates throughout her stories, such as the racist who decides to eat in Chinatown, are well thought-out caricatures and deliver the laughs where needed. You almost forget that it’s a one-woman show at times due to their realness.

Ultimately this story is Healy’s journey to becoming a confident, sexy and dare I say it; independent (there, I did) woman. After the show, my two female companions spent a good half an hour not only discussing what Victoria had said but agreeing with it and relaying their similar experiences. At one point, I even found myself relating to things.

Regardless of your generational letter, with her warm and welcoming ways, it seems Healy’s Independent Woman Part 2 is hitting a chord with women and men alike. Zig-a-zag-ah!

VENUE
Rue Bebelons Upstairs
267 Little Lonsdale St
DATES
until 22 April
TIMES
Mon 6pm
Fri-Sun 9.45pm
PRICES
Full $20
 (Cheap Mondays $16)
BOOKINGS
Online or at the door

Cabaret, Cabaret Review, Events, Late Night Shows, Performances, Whats On

REVIEW: The Butterfly Club Presents KELFI AND FIKEL

Let’s hear it for the girls

By Maxine Montgomery

Kelfi and Fikel (aka Kellie Della Ca and Fiona Higgins) began their show by walking into the intimate showroom at The Butterfly Club and saying hello to the audience. They asked the names of a few of us and in that moment, we were all put deliciously on edge, unsure if we were going to be called up for audience participation or left in peace. The girls then opened the show with a stint of casual banter, giving a feel of having being invited over for coffee and a chat. It set the tone for an evening of frankness, irreverence and fun.

From the outset, their long standing friendship was obvious – they clearly share a similar twisted sense of humour, and they have an inherent love and understanding of each other. These factors combined serve them very well throughout the show. Their character-based sketches are slick, clever and fast-paced in delivery. Kellie and Fiona have created a broad range of characters, and through them they are able to pass comment on anything and everything. Without these characters, they may not be able to push the envelope as far as they do and still have the audience on side. I found myself fully engaged in all scenarios, bar one – the less-than-macho koala and kangaroo sketch. After beginning well and bringing forth giggles from the audience, it seemed to run too long and in doing so, lost some of its impact.

The sketch comedy of Kelfi and Fikel is strongly supported by their original songs and their delivery of same. The girls’ voices seem to be made to sing together. Backed by Kellie’s capable piano-playing, their vocals are strong and their written harmonies are delivered with confidence. Their opening song, “We Go Together”, is a wonderful catalogue of all the best and worst pairings that have ever been – I sat there crying with laughter thinking, “Oh, no, they didn’t just go there?!” One of my favourite moments started as something of a nod to “My Favourite Things” and ended up as a euphemistic love letter to the vagina… Fine line trodden? Yes… Side-splittingly funny? Oh, my word, yes!

Kelfi and Fikel have created a show that is ‘oh, so right’ because in places it is ‘oh, so wrong’. These two know how to have fun, not take themselves too (at all?!) seriously, and invite the audience along for the ride. If you’re a fan of the likes of The Fast Show and The Catherine Tate Show, then the comedy and music of Kelfi and Fikel is sure to delight.

The show runs at The Butterfly Club as a part of the 2012 Melbourne Comedy Festival every Thursday, Friday and Saturday night at 10:20pm until April 21. For tickets, go to www.thebutterflyclub.com

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

Review: WIL ANDERSON is Wilarious

Melbourne Comedy Festival fare at its finest

By Myron My

The first thing I noticed when Wil Anderson came on stage to perform his 2012 Melbourne International Comedy Festival show Wilarious, were the missing presence of thongs.

I have seen Wil perform five times and each time he has never worn proper shoes. I felt this was going to be a very different show with him standing in front of a room full of people – except for the two empty seats front row center  (their loss) – wearing shoes!

The beauty of Wil is that much of what he says has probably happened to many people, but it’s stuff that hardly anyone is willing to admit in a public forum. Put your hand up if you would happily (ok, maybe not happily) admit that “someone once fell asleep as I was going down on them”. Didn’t think so. But Wil does. And despite the subject matter, he doesn’t allow it get into crass territory, a trap into which so many others fall into.

Much of Wilarious does however draw on current issues and social commentary. There a perfect blend of seriousness and humour in what Wil has to say: from gay marriage rights to teaching kids that life isn’t always fair and not having them believe everyone comes up a winner all the time. There is truthfulness and reality to what Wil is saying and with his unique blend of story-telling and humour, and it makes for some poignant moments too – followed by fits of laughter.

Wil tells us that his mantra in life is that if you hear something negative, turn it into a positive. Sadly, it cannot be done in this circumstance as Wil is in top form delivering the right amount of laughs with the right amount of thinking and intellect. Wilarious met and exceeded expectations, reminding me why Wil Anderson is still considered as one of the best Australian stand-up comedians today.

VENUE
The Comedy Theatre
Cnr Exhibition & Lonsdale Sts, Melbourne
DATES
28 March – 15 April
TIMES
29 Mar-15 Apr Tue-Sat 8.45pm
Sun 6.15pm
PRICES
Full Sat $40
Full Wed-Fri & Sun $36
Concession $30 (N/A Fri & Sat)
Bookings: http://www.comedyfestival.com.au/

Cabaret, Cabaret Review, Events, Performances, Whats On

Review: THE BAD BOYS OF THEATRE are Not Quite Right In The Head

The boys are back in town!

By Meg Richardson

John Frankland and Andrew Strano are the Bad Boys of Music Theatre. And these well dressed, so called “Bad Boys” are back with their second full-length cabaret.

While their show last year declared their undying “bromance”, the boys have delved deeper into their psyches in this year’s show to explore psychological issues that are often found in the showbiz industry such as upstaging, narcissism, identity issues and many more.

This hour-long comedic cabaret has Andrew trying to help John to solve his crippling social anxiety by convincing him that he is a qualified psychiatrist. The audience is then taken on a journey of hypnosis, confessions and stories of daddy issues, childhood bullying and other would-be-sensitive issues of both John and Andrew’s pasts that have been stripped naked in the most jocular of ways. (We also see John literally stripped during the performance).

John and Andrew have a dynamic chemistry on stage that is apparent from the very beginning of the performance  with Andrew’s manic energy and lanky physical comedy balanced perfectly with John’s firmer, drier (and considerably shorter) comic stance.

With a clever blend of silly banter, re-worded cover songs, original numbers and multi-media, these two men have created a pace that keeps the audience engaged from start to finish.  The boys cover artists ranging from Queen to (a rather large dedication to) Justin Bieber so there is something for almost any age group throughout the performance.

The multi-media arrangement of sound and video was near flawless and the cheesy, OTT pre recordings added an atmosphere to the show that couldn’t have been created on stage alone. Among these recordings were mock-up music video clips, television drama clips and a view into the human subconscious which had the audience laughing, singing and dancing along.

On top of all this, the duo have compiled a number of original songs that showcase their not only their hilarious writing ability, but their excellent vocal talent. They have also utilized their pianist, Lachlan – for more than just a few punch lines, but also as a vocal accompanist to add further levels to their already smooth, well blended harmonies.

The pair make a dynamic team and their newest production is really a delight to watch. They may not be “quite right in the head” but this performance is quite right in almost every way.

Venue: Chapel Off Chapel, 12 Little Chapel Street, Prahran VIC 3181
Dates: 28 March- 1st April
Times: Wed-Sun 7:30pm, Thurs, Sat & Sun 2pm
Tickets: $25 Full, $20 Concession
Bookings: (03) 8290 7000, www.chapeloffchapel.com.au

Events, Performances, Review, Theatre, Whats On

REVIEW: Andreas Litras’ ODYSSEY

The first great hero quest is reimagined into a moving modern story

By Anastasia Russell-Head

Homer’s Odyssey is – literally – epic. Even the synopsis on Wikipedia runs to over 2000 words! Andreas Litras’ one-man play of the same name skillfully blends a retelling of the ancient story with a more recent “odyssey” – the journey of his parents from Greece to Australia, and his own reconciliation with his Greek heritage – making both stories very much human-sized yet epic in their universality.

Home, homecoming and home-finding are powerful themes interwoven throughout the show, which runs the gamut from physical laugh-out-loud comedy to heart-wrenching poignancy.

The star of the show really is Litras himself, both as subject matter and storyteller. Under the expert direction of John Bolton, he is consistently engaging and entertaining, and overall a superb performer, able to conjure a storm at sea, a fish and chip shop, or a gravesite with just a few props, some clever lighting and utmost conviction.

The audience, which included a large group of schoolgirls on an excursion, were absolutely transfixed throughout the 90-minute performance.

Migrant stories such as this are important in contemporary Australia. Although the immigrants in this story arrived in this country more than 50 years ago, the story is very relevant to the experience of many today – leaving one’s home country following war, arriving in a strange place, learning the language, negotiating a new set of norms, forming a community, and raising a family.

The (recent) history of this country is a story of immigration, and this play brings this (his)story vividly to life, complete with all the laughs and tears, setbacks and triumphs such tales are replete with.

Until 31 March
The Open Stage
757 Swanston St
Cnr Swanston and Grattan
Parkville, Victoria 3010

Wednesdays – Saturdays – 7.30pm
School Matinees – Thurs, Fri – 1pm

Adult – $38
Concession – $25

Bookings: Call 1300 099 660 or book online

Cabaret, Cabaret Review, Events, Performances, Whats On

Review: THE GREATEST MEDLEY OF ALL TIME

Gotta love a show that lives up to its title!

By Dean Arcuri

Seasoned Butterfly Club performers Jade Leonard and Trevor Jones combined their musical prowess to create a non-stop cabaret train; having enjoyed their solo works before, I was eagerly anticipating this combination.

With the entire performance being one long medley of camp and classic songs, we were in for a real treat.

Creating The Greatest Medley of All Time is a daunting endeavour but with Jones accompanying their vocals for the full hour of performance as he and Leonard changed tones, styles and tempo with ease, they certainly hit the nail on the head.

Channeling a wide range of musical numbers they opened their mammoth medley with The Lady is a Tramp, but having Trevor sing that the tramp was actually Jade meant we immediately settled in for a night of fun!

Joking they were the best wedding band of all time, the two performers contrasted great jazz, music theatre and diva showstoppers with classic love ballads  like Endless Love and The Mirror Has Two Faces, changing tempo and mood by clever segues into Man in the Mirror and Valerie in tributes to musicians past.

Jade sings with such sweetness you would think her diaphragm is dipped in honey. This is singing with a tone and beauty that seems to surround and engulf the space around you, leaving the listener to be swept up by the sounds of this siren.

Trevor balanced with ease between fine vocals and continuous accompaniment: he never tired and his exuberance and uniquely enigmatic style was intoxicating. Sharing the spotlight we are swept up in the power of their duet ballads as well and the sass and spunk of their solo numbers.

The only problem with a never-ending medley is have to pick when to applaud, but the audience seemed content to wait till the show’s conclusion to cheer and even sing along when we hit the fabulous Grease Mega Mix.

Both performers have a sense of showmanship and musicality that carried through from number to number, keeping me transfixed. Many moments were spent fighting the temptation to just close my eyes and soak in the sounds: for while the staging was simple, closing my eyes would have meant missing the sight of the obvious joy they both brought to the medley. 

An hour was not enough – we need more! Fingers crossed for return seasons of this vibrant cabaret show in the near future…

 

The Greatest Medley of All Time  was performed at The Butterfly Club from 22-25 March.

Events, Musical Theatre, Performances, Review

REVIEW: La Cage Aux Folles

A lavish revisit to a classic musical

By Dean Arcuri

I knew La Cage aux Folles as the show on which The Birdcage was based: a gay couple are shocked when their son announces his pending engagement into a politically traditional family, and a hilarious dinner party filled with mistaken identity, muffled flamboyance and an abundance of cross-dressing ensues. Quirky Productions’ latest approach to the famous musical at the National Theatre had a cast and production team that do not disappoint in presenting a fantastic show.

I particularly tip my hat to the production’s stunning costumes (Isaac Lumins), wigs (David Wisken), lighting (Brad Alcock) and set design that really transformed the space from Parisian streets and a Mediterranean home to the La Cage stage. The simple flamboyance succeeded in elevating the comedy without overshadowing the campness.  In particular, working with depth on the stage of the La Cage allowed the lighting and costumes to really augment the performances.

John O’May’s portrayal of George was a perfect juxtaposition to David Rogers-Smith’s Albin/Zaza, with both deserved the standing ovation they received.  O’May’s voice is hauntingly beautiful, and he played out the emotion in the character with a powerful calm, allowing me to understand, empathise and still be entertained with what is honestly a pretty insensitive plot device used to channel the story along.  Meanwhile Roger-Smith embraced every moment in the spotlight, while never letting us forget the man behind the makeup. His performance of the classic I Am What I Am that closes the first act was filled with raw passion and vocal power, leaving the hairs on the back of my neck to only subside sometime during Act Two.

Juggling camp comedy and emotional empathy is never easy, but both the leads portrayed the passion of their characters and their tender relationship with such strength that it carries their “straight man” son (Reece Budim) whose singing voice certainly counteracted his character’s two-dimensional paternal relationship. Unfortunately the variety of accents of the lower-tier leads distracted from their performances, really leaving these stronger characters to take centre stage.

Special mention must be made of  the ‘ladies’ or Les Cagelles, who really kept us entertained throughout with their energy, passion and ability to move. From the opening the show we soon saw there was more than meets the eye: not just because of what was “tucked away” but because even in visual uniformity their individual performances shone out. It’s a shame their scenes were drowned out by the orchestra leaving great character moments and punch lines by the wayside.  Still, their dance numbers had us transfixed, and applauding along with an abundance of energy and exuberance.

Minor issues aside, the entire musical was thoroughly entertaining, powerful and beautifully performed. If you missed this one, be sure to keep an eye out for Quirky Productions’ future shows.

La Cage aux Folles was performed at The National Theatre from March 16 – 24, 2012

Events, Performances, Review, Theatre, Whats On

Review: DON’T DRESS FOR DINNER

Fun little romp works on keeping up the pace

By Dean Arcuri

Mistaken identity, secret affairs and bed-swapping antics lay the perfect groundwork for a night of laughter in the Eltham Performing Arts Centre this month.

Husband and wife Bernard (Phil Holmes) & Jacqueline (Raine Dinale) hide their affairs in plain sight on a weekend away, but when Suzette (Jackie Fraser) is confused with Suzanne (Penny Bolton), a jumble of comedic deception ensues in Eltham Little Theatre Inc’s Don’t Dress for Dinner by Marc Camoletti.

Comedy all comes down to timing and I felt the story and comedic moments dragged as we entered into the heavier twist of the plot at the play’s conclusion, but this was not something shared by the rest of the audience.

I was one of the few under 40s in attendance so perhaps I am simply used to a faster sense of timing, but I was still chuckling along as the crowd laughed and even cheered upon the repetition of some of Bernard’s lies as he has to think quick in order to avoid Jacqueline’s wrath.

Homles, Dinale and James Carlon (Robert) have the daunting task of establishing and deconstructing all the comic elements in play which is no mean feat. It’s to their credit that they were able to keep so many plot points juggling and keep us laughling along without being often bewildered.

Thanks to their groundwork Fraser & Bolton then burst into the thick of it, taking this farce to another level.  Deitre Kunz’s cameo as George would have been better served using his natural voice rather than experimenting with accents, as he’s given little time to establish himself. He and Frazer bounce off one another with ease and upon their exit you noticed the stark difference between marital relations we’d experienced all night.

I can’t help feeling a good half an hour could have been shaved off this performance through tighter cast work and by opening up the staging to give the cast more freedom of movement, as they were either on top of each other or positioned at too far a distance to work intimately.

Eltham Little Theatre Inc certainly lives up to their local community claim as ‘a little theatre company with a big heart’ as everyone left entertained, and were welcomed to supper with the cast and crew.

Don’t Dress for Dinner: 15th to 31st March 

Tickets: http://elthamlittletheatre.org.au

Events, Performances, Review, Theatre, Whats On

REVIEW: MTC presents RED

A fierce clash of power and art

By Brad Storer

MTC’s new production, John Logan’s Red, opened last night inside an artist’s studio with canvases and paints strewn everywhere. What is not so apparent at first is the artist himself, hidden in a solitary corner silently appraising the work laid before him.

The play is based around real-life painter Mark Rothko (Colin Friels) and his (fictionalized) relationship with young assistant Ken (Andre de Vanny). Any chance of this play turning into an sentimental and clichéd depiction of intellectual exchange between aging artist and younger apprentice is smashed in the very first scene when Rothko coldly remarks to his newly-arrived helper that he is not father, mentor or psychologist – ‘You are my employee’.

Red is foremost a play of ideas – scenes mix discussion of the works of Pollock with Nietzschean conceptions of the Apollonian and Dionysian impulses of the human psyche, and ancient myth with Andy Warhol and Pop Art. The tempestuous conflicts between Rothko and Ken debate the fundamentals of art and what it means to be an artist, as well as the relationship between a work of art and its observers. This is reinforced by the two staring out at us, supposedly at a painting hanging on the fourth wall, but this serves as a continual reminder of our status as consumers and observers of art and to re-evaluate our relationship with what we see.   

Although there are two characters onstage at nearly all times, the real duality which becomes apparent is between Rothko and his mammoth and ferocious ego. Rothko declares at one point that ‘stasis is death’, and Friels clearly takes this maxim to heart in his characterization – his portrayal is a magnificent whirlwind of bravado, fierce pride, high intellectualism, pained bitterness and staunch idealism, often co-existing simultaneously or changing without warning. His character resists easy designation: bellowing his fury at the crumbling standards of modern artists one second, the next filled with tender paternal care over his own artistic creations.

De Vanny is given a role which could easily become merely a sounding board for the ramblings of the more flamboyant Rothko, but De Vanny emphasizes from the very first Ken’s spine and own intellectual strength. This culminates in a brilliant and hilarious scene where the assistant turns his repressed anger against his employer, who is so stunned he is forced into silence for what seems the first time in the play.

De Vanny and Friels make a fantastic pair, each filled with their own artistic fire and vision, driving the play towards its breathtaking conclusion, where in an inspired use of lighting the play’s reoccurring motifs of colour and light return for one final moment, now charged with infinite meaning after the events we have seen, creating a theatrical coup-de-grace stunning in its intensity and simplicity.

22nd March – 5th May, 2012

Tickets: www.mtc.com.au