Category: Review

Circus, Events, Review, Whats On June 21, 2014

REVIEW: Circus Oz Presents BUT WAIT… THERE’S MORE!

Left wanting more…

By Rachel Holkner

Circus Oz has always performed with such glee and joy, and But Wait… There’s More! is no exception: the performers and the audience are caught up in the joy of simply being a part of a circus. The atmosphere is undeniable, beginning even from collecting tickets to the sounds of the Federation Bells pealing right outside the Big Top.

Set in a mottled, crumbling theatre But Wait … There’s More! is the first Circus Oz show to have been produced at their new permanent, purpose-built Collingwood home of which they are suitably proud. If photographs in the program are any indication, the space is beautiful, light-filled, and modern. Everything this production is not.

Taking on “infobesity” as a theme, the idea that we are so inundated with data, marketing, sales, spin and brainless television that… what? The show offers no analysis nor solutions to the topics they try to explore. Instead the conceits are a thin thread to link together disjointed acts, too many of which were not only detached completely from the theme, but not even terribly entertaining.

Barcode clowns scatter through the show disrupting acts, and causing mayhem: their demands for acts to be presented in the form of a game show were irritating and lent nothing but to highlight how underdeveloped some of these filler-acts were.

There were some stunning performances from the ensemble – a ballet performed on unicycle by Kyle Raftery and April Dawson, a poignant juggling act by Olivia Porter – yet these were sadly too few. The show as a whole lacked the highs and lows you expect from a circus, whether side-splitting hilarity or breath-holding tension.

These highly skilled performers were hobbled by an underdeveloped story and I only hope they bring more of the beauty and light from Collingwood into their next production.
Venue: Under the Heated Big Top, Birrarung Marr, Melbourne

Dates: 18th June – 13th July. Check circusoz.com for full list of times.

Tickets: $24 (Child) – $95 (Ringside)

Bookings: www.ticketmaster.com.au, 136 100

Cabaret, Comedy, Review, Theatre, Whats On June 1, 2014

REVIEW: Lulu McClatchy is SUPERGIRLY

Sassy celebrity satire

By Myron My

I first saw Lulu McClatchy and Lyall Brooks on stage together last year in Neil LaBute’s play Fat Pig, and their chemistry back then was obvious. Now in Supergirly they are given more freedom to experiment and play and the outcome is even better than I could have anticipated: McClatchy and Brooks nail it.

McClatchy portrays our slightly (or extremely) delusional eponymous starlet who has relegated herself to staying indoors and reminiscing about her celebrity life, including her relationship with ex-boyfriend Robbie Williams. She has hired manservant Bradley Cooper (but not really Bradley Cooper) played by Brooks, who (for reasons of his own) humours and entertains Supergirly by dressing up as a number of celebrity visitors to her house. Brooks is clearly having a ball with the characters, including Bradley, and creates some highly memorable moments in his impersonations and dance routines.

The set design adds so much to the atmosphere of Supergirly: it’s reminiscent in equal parts of a bordello with its huge red curtains and ostentatious sofa, and of “Grey Gardens”, the home of famous eccentric mother/daughter pair Big Edie and Little Edie (from whom Supergirly herself seems to draw some inspiration).

McClatchy belts out her own interpretations of well-known songs by Katie Perry, One Direction, The Pussycat Dolls and the Spice Girls to name a few. She particularly lets rip with her Lady Gaga tunes where her mannerisms and facial expressions are beyond brilliant, but the highlights of the evening were still her Pet Shop Boys and Doris Day numbers.

At just over two hours long, I feel there was a need to cut some songs as the old adage of too much of a good thing does ring true here. Credit to McClatchy and Brooks though, their energy does not wane at all and each song they perform is treated like it’s the first of the evening.

Supergirly is an extremely fun show and no-one is safe when two seasoned performers like McClatchy and Brooks let loose their sparkling satire on the cult of celebrity and its followers. Even the audience gets a talking-to, but it’s all done in such a fun way that you end up really wanting to join the party on stage.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Season: Until 8 June | Tues-Sat 8:00pm, Sat-Sun 4pm
Tickets: $39 Full | $30 Conc
Bookings: www.chapeloffchapel.com.au or 8290 7000

Events, Review, Theatre, Whats On June 1, 2014

REVIEW: Kate Hunter’s MEMORANDUM

Sinking delicately into the depths of remembrance

By Margaret Wieringa

Smoke drifts across the stage in layers, twisting and turning with the gentlest movement. The air is filled with the sounds of summer, of insects and birds and the past. Slowly, so slowly, a figure in red is revealed off in the distance corner of the stage, obscured by the smoke and several long, semi-opaque banners that hang from the ceiling to the floor. And the remembering begins.

You know what it is like, when you recall your childhood. You remember a story, but cannot be sure if the facts are right, or if you are blending two stories, or if any of it actually happened. But you can remember the full names of your primary school classmates and what they were known for. Sometimes it comes in a rush, sometimes in dribs and drabs. Sometimes, bits layer on top of each other like a dream, or a memory of a dream.

Kate Hunter has captured those feelings in this performance of Memorandum. Being in her company in the space at Theatreworks was like being invited into her memory; or a version of someone’s memory. It was a beautiful and surreal experience that was at once mine and not mine.

Kate’s performance is both mesmerising and hypnotising, at times funny and at times heartbreaking, and it is complemented so perfectly by the use of light and set to create a world that is vague and dreamlike and enthralling. Lighting designer and lighting operators Richard Vabre and Suze Smith build with light from traditional theatre sources as well as using projections and offstage lighting to create the vague, magical mood. Having two separate projections of similar images projected on a angle upwards through the three banners gave a layering effect of images, both clear and sharp, and fuzzy and distorted, and with Kate standing in front of them seemed to place her within the memory, within her dream, within her mind.

Then there was the sound, operated by Michael Havir; layers of voice that synch and clash with what Kate herself is saying, adding detail, removing meaning. Revealing, slowly and gently. Even the freezing cold of the theatre was bearable as we were absorbed into the world of memory.

Venue: Theatreworks, 14 Acland Street, St Kilda
Dates: May 20 – June 1, Tuesday-Saturday 8pm, Sunday 5pm
Price: $25 Full, $20 Concession $20, Groups of 8+ $20
Tickets: www.theatreworks.org.au

Opera, Performances, Review, Whats On May 18, 2014

REVIEW: Victorian Opera Presents LA TRAVIATA

Lush and lovely revisit to a classic

By Margaret Wieringa

Violetta is a party girl, drinking and dancing and partying her life away in 1870s Paris. She loves being courted by numerous men and doesn’t believe in love – until Alfredo Germont woos her and steals her heart. Moved away from Paris to the countryside, Violetta is approached by Alfredo’s father who convinces her it is in Alfredo’s best interest to end it, and the famous tragedy plays out.

Directed by Henning Brockhaus and designed by Josef Svoboda, Victorian Opera presents this stunning production that has been acclaimed around the world. The feature that immediately grabbed the audience’s attention is the gigantic mirror that is raised before the performance commences. The backdrops are giant paintings on the floor and are reflected, along with the performers, in the mirror. This effect was magnificent, although it was not so successful during the restrained scenes at the country house, especially as it appeared the actors were climbing on the house at times which became unintentionally humourous. The appearance of doubling the size of the stage with the mirror showed a strong contrast between the decadence of the parties and the nightlife of Paris to the emptiness and loneliness of Violetta in her demise.

The production of La Traviata introduces Australian audiences to soprano Jessica Pratt, who held the audience in her hand every moment she was on stage. We lived her joy and delight and sighed as her fortune changed, and during several sections, audience members were heard called ‘Brava’. While the large social scenes were spectacular down to the tiny detailing on the costumes and the beautiful interactions between the various cast members, it was the duets that took my breath away; at the country house, with Violetta and Alfredo’s father, played with aplomb by Jose Carbo, and later in Violetta’s house between Violetta and Alfredo, played movingly by Alessandro Scotto Di Luzio.

This is an elegant production that is perfect not only for the seasoned opera lover, but also for those who have yet to take the plunge into opera. Brava!

Venue: Her Majesty’s Theatre
Dates: Saturday May 17, Tuesday May 20, Thursday May 22, Saturday May 24, Tuesday May 27, Thursday May 29
Times: 7:30pm
Booking: www.ticketek.com.au or phone 1300 795 012

Events, Musical Theatre, Review, Whats On May 11, 2014

REVIEW: Melbourne’s Opening Night of WICKED

Return to Oz…

By Bradley Storer

The atmosphere was electrifying at the opening night of Wicked, returning to Melbourne for the first time since the original Australian production in 2008. As the lights dimmed and the first strains of music began, the audience erupted in enthusiastic applause for the musical which, for better or worse, has defined contemporary music theatre for the past decade.

Jemma Rix reviving her role as Elphaba is brilliant, marking Elphaba’s journey from a down-trodden outsider to a self-determined revolutionary but never letting us forget the wounded loner that lurks beneath the exterior. Her voice is extraordinary, a technical marvel which she employs to maximum effect throughout but whose full power she only unleashes, to spine-tingling results, in her Act One showstopper ‘Defying Gravity’.

Lucy Durack returning as Glinda the Good Witch, Elphaba’s truest and eventually only friend, was a little unsteady vocally at the beginning of the evening but found plenty of times to show off her bright sunny soprano. While Durack nails the bubbly, air-headed side of Glinda’s personality, she doesn’t fully convey the burgeoning intelligence which shapes Glinda’s journey in the second act.

Steve Danielson as Fiyero, both Elphaba and Glinda’s central love interest, is charming and competent but a little forgettable. Reg Livermore (The Wizard) and Maggie Kirkpatrick (Madam Morrible) both find opportunities to steal the show with their smaller but significant roles.

The show itself is compelling throughout the first act, the extravagant sets and costumes brought to life by the enthusiastic and skilled ensemble, but the pace begins to droop in the second act as the plots takes a darker twist. The musical’s weaknesses begin to show at this point, the cutesy and twee tone of the musical’s book ill-matched with the dramatic events that transpire. Stephen Schwartz’ score does its best to liven events, in particular Elphaba’s emotional breakdown in ‘No Good Deed’, but the true emotional impact of the show is saved for the final moments, with the last image slamming home the heart-breaking toll of what has transpired.

VENUE: Regent Theatre, 191 Collins St, Melbourne.
DATES: 10th May – 20th July
TIMES: Wednesday – 1pm & 8pm, Thursday & Friday – 8pm, Saturday – 2pm & 8pm, Sunday – 1pm & 6.30pm.
BOOKING: www.ticketmaster.com.au, Phone 1300 111 011, Ticketek Outlets or at the venue.

Events, Review, Theatre, Whats On May 5, 2014May 5, 2014

REVIEW: Red Stitch Presents BELLEVILLE

Compelling theatre

By Narelle Wood

Belleville by Amy Herzog is a challenging play in that it explores a dysfunctional relationship in a witty, yet brutally honest and often harrowing, way.

The story follows a couple of days in the life of Zack (Paul Ashcroft) and Abby (Christina O’Neill), an American couple living and working in France. Apart from language and obvious cultural differences, Abby is still grieving her mother’s death and experiencing homesickness, while Zack is doing what ever he can to make ends meet and Abby happy. Pestered by his landlord Alioune (Renaud Momtbrun) and his wife Amina (Tariro Mavondo) for overdue rent, Zack finds himself more and more desperate to put his life and relationship back on track.

O’Neill and Ashcroft work perfectly together as they negotiate the emotional turmoil of their characters: from deep passion, to exasperation, tenderness, desperation, to outright hatred, these two actors depict it all with a disturbing realism that makes the play both riveting and difficult to watch. O’Neill’s portrayal of Abby is just as complex as her character’s slow mental decline and Ashcroft similarly presents Zack as a multidimensional character who is just as ingratiating as he is completely unappealing.

The Parisian apartment where the play is set is small, but director Denny Lawrence makes maximum use of the available space both on and off stage, with the bedroom and bathroom providing really clever opportunities for costume changes and storyline segues. The use of props, including their placement and movement to different areas of the stage, is very cleverly choreographed. However, what perhaps is the most impressive thing about Lawrence’s direction is the way he has dealt with and enabled the actors to deal with demanding themes and situations.

Although Belleville has some funny moments, it is not a play for escapism or one that will leave you feeling warm and fuzzy. Red Stitch’s latest production expertly provides a dose of relationship realism and is a resolute must-see if you like plays that are expertly staged with a quality script and excellent acting.

Venue: Red Stitch Theatre, 2 Chapel St, St Kilda
Season: Until 31st May, Wed-Fri 8pm, Sat 4pm and 8pm, Sun 6.30pm
Tickets: Full $39| Conc $20
Bookings: http://redstitch.net/bookings/

Dance, Performances, Review, Theatre, Whats On May 2, 2014

REVIEW: Grayboy Entertainment’s GOOD BYE MISS MONROE

Hollywood starlets – and the man who moved them

By Narelle Wood

Good-Bye Miss Monroe is a short but exquisite look into the little-known life of dance director and choreographer Jack Cole, and the glory days of dance on film.

The play, written and directed by Liam De Burca, is unusual in its construction; set in the days after Monroe’s passing, Jack Cole (played by Matt Young) recounts his experiences working with his ‘Baby Doll’ Marilyn, and includes recollections of and conversations with some of Hollywood’s greatest starlets. The story provides some fascinating insight into the creation of these iconic Hollywood actresses, including Martha Graham, Rita Hayworth, Betty Grable and of course Monroe. Cole’s character explains the difficulties of teaching these actresses to move in the ways they eventually became famous for as he laments the loss of Marilyn’s life and explains the development of the sex-bomb character that she became so famous for.

In the précis of the show, De Burca explains that Cole’s work is relatively unknown as most of it is uncredited. As a result it is hard to know whether Young’s portrayal of Cole is accurate, but what he presents is a believable, quintessentially old-fashioned choreographer who believes in the power of dance and the importance of accurately representing dance on film. Anna Burgess plays all of the female characters and her transformation between the different characters is indescribable: from the look, to the dance moves, to the voice, to each of the actress’s idiosyncratic mannerisms, Burgess portrays each of them with astounding accuracy.

The narration’s time-frame does cut backwards and forwards and Cole’s focus on what he’s discussing chops and changes regularly, making it initially a little hard to follow. This may be a reflection of Cole’s disorientation after hearing of Marilyn’s death or an attempt to explore as much of Cole’s littl- known character as possible: either way the format does do the story justice.

While the title might suggest a sole focus on Monroe, Good-Bye Miss Monroe explores so much more this and offers a unique perspective of what it meant to work in film during the 1930’s, 40’s and 50’s. If you love this era of film, Monroe or dancing in general Good-Bye Miss Monroe is moving, funny and simply brilliant.

Venue: Chapel Off Chapel, 12 Little Chapel Street, Prahran
Season: 2nd to 4th May, 8pm, Matinee Saturday and Sunday 3pm
Tickets: Full $30 | Conc $22
Bookings: http://chapeloffchapel.com.au

Comedy, Events, Musical Theatre, Review, Whats On April 28, 2014

REVIEW: Richard O’Brien’s ROCKY HORROR SHOW

Give yourself over to absolute pleasure…

By Myron My

I will confess: I have never before seen The Rocky Horror Show on stage. Yes, shocking, I know. In fact, the only time I have even seen the film was three years ago at an outdoor cinema event. So I was filled with much antici…pation when attending the Melbourne opening night of this new production, celebrating 40 years of Richard O’Brien’s outrageous musical creation.

To cut to the chase; I simply loved this show. Everything about it is flawless and fun. From the performances to costumes to the sets and lighting and of course, the music: I just could not fault it.

Tim Maddren and Christie Whelan Browne are perfectly cast as newly engaged couple, Brad and Janet. They radiate naivety and innocence, their singing ability throughout the show was highly impressive, and their interaction with each other is a joy to watch. In fact, every single person on stage clearly loves their characters, but none more so than Craig McLachlan as Frank-N-Furter. From his initial grand entrance in those trademark fishnets, he has everyone hanging on his every word and movement and makes every new crazy development feel like it’s the most memorable scene in this rock ‘n’ roll musical. McLachlan’s improvised moments with the full house on opening night were particularly hilarious and he even managed to break his fellow actors into unavoidable laughter on more than one occasion.

The musical numbers are a thrill to watch and you can’t help but fight the urge to get up to sing and dance along to the well-known classics such as ‘Touch-a Touch-a Touch Me’ and ‘The Time Warp’, the latter which allows Kristian Lavercombe (Riff Raff) to show off his brilliant vocal talents.

The costumes by Sue Blane and wigs by Darren Ware are – pardon the pun – out of this world. From the initial simple and modest costuming of Brad and Janet to the wondrously crazy outfits for Riff Raff and Magenta (beautifully played by Erika Heynatz), the creation of these gems showcases dynamic design and visual excitement.

There are many more flamboyant, funny and fantastical moments throughout The Rocky Horror Show that make the event special – but instead of listing them all here, I just encourage you to go and witness them yourself. It will be a strange journey indeed, but it will also be an unforgettable evening of dazzling fun.

Venue: Comedy Theatre, 240 Exhibition St, Melbourne
Season: Until 13 July | Tues – Sat 8:00pm, Sat 2pm, Sun 1.30pm and 5.30pm
Tickets: From $59.80 – $109.90
Bookings: http://www.ticketmaster.com.au

Events, Musical Theatre, Review, Whats On April 14, 2014

REVIEW: DreamSong for MICF

Redemption is not at hand

By Narelle Wood

I like clever, witty, well-constructed comedy and unfortunately I found DreamSong to be absolutely none of these. While the premise of the show (a money-hungry evangelist constructing a second coming of Jesus) certainly had potential, what ensued was two hours of clichéd cheap shots at a whole range of issues, religions and minorities that I felt were extremely offensive, and I’m not easily offended.

Pastor Richard Sunday (Ben Prendergast) has realised his church is in financial peril, and along with the help of his wife Whitney (Chelsea Gibb), the prime minster (Mike Mcleish), the prime minster’s advisor (Alana Tranter) and a wannabe actor (Connor Crawford), he stages a fraudulent resurrection of the son of God. Meanwhile the pastor’s daughter April (Emily Langridge) is trying to talk the real Jesus Christ (Brent Hill) out of a crisis of confidence. Prendergast certainly looked the part of evangelic preacher but his character lacked charisma and charm that was needed to make the deception believable. Evan Lever as Neville Gruber was fabulous as the eager-to-please church follower, but it was Hill’s portrayal of Jesus Christ that actually provided the only comical parts to the show: it was pity that his character had less than twenty minutes of stage time.

Author of DreamSong, Hugo Chiarella, seems unsure about what faction of society he takes issue with. His supposedly black comedy (in my opinion it’s rarely funny) about a non-specific church mocks soldiers dying in Afghanistan, the mentally disabled, Judaism, Christianity, Islam, abortions, people suffering and dying from AIDS, homosexuality, victims of paedophilia and animal cruelty. Excluding the cast, the one redeeming feature of this musical is in fact the music provided by Robert Tripolino. I can’t say I’m a fan or have that much knowledge of Christian pop, but the range and style of music seemed perfectly matched to the premise of the show.

Perhaps a warning at the show about the offensive content may have placated how offended I was, and this then may have enabled me to see beyond those cheap shots to a concept that is worth exploring and what attracted me to the show in the first place.

Venue: Theatre Works, St Kilda
Season: Tues-Sat at 7:30pm, Sat at 2:00pm, Sun at 5:00pm, until 20th April
Tickets: Full $35| Conc $30
Bookings: http://www.theatreworks.org.au/

Comedy, Festivals, Late Night Shows, Review, Whats On April 13, 2014April 13, 2014

REVIEW: Cameron James and Jared Jekyll in PARADISE

Don’t be misled by the picture…

By Margaret Wieringa

Being asked by the usher, ‘Have you got a ticket to Paradise?’ was one of my favourite non-show moments of this year’s Melbourne International Comedy Festival – and what a way to kick off an hour of comedy. By the time I left the room, I was exhausted from laughing.

The premise is that Cameron James and Jared Jekyll are a comedy duo who are invited by a mysterious character to perform at PICF – Paradise Island Comedy Festival. Knowing nothing about it, they head off on an adventure that turns mysterious and dangerous, and it is possible not everyone will return. And there may need to be a hilarious pretend memorial partway through the show.

Once on the island, the pair confront a number of interesting characters including the voodoo chief who shouts in a gibberish cross between rap and the Haka which is translated by another tribe member into a bizarre reggae number. Oh, and there’s the horny heir to the millionaire owner of the island. And not to forget the voyeuristic jungle animals…

These guys are great. Funny, affable and very talented. The show kicks off with their new song, Addiction, which involves some funky guitar, an awful lot of beat-boxing and mime. Big and hilarious mime.

The duo are still relatively new to the comedy world: after coming up through RAW Comedy in 2012 and 2013, Jekyll and James have been busy playing festivals and gigs across the country. It is very difficult to raise yourself above the crowd in a comedy festival with nearly five hundred shows, especially when your time-slot is at 11pm. Yet despite their frankly appalling image in the festival guide, the Locker Room was packed. The audience loved the show, rocking the room with laughter and eagerly participating whenever asked to.

It is fabulous that MICF sees so many familiar names returning and big names coming from overseas, but often my favourite moments come from seeing an act for the first time. Especially when it is an act that clearly has a lot to offer, and hopefully a big future in comedy. It’s a small room and a late night, but Paradise is more than worth the investment.

Venue: Portland Hotel – Locker Room
Dates: 27 March – 19 April (Thurs, Fri and Sat nights) 11pm
Tickets: $20 full, $15 conc
Bookings: http://www.ticketmaster.com.au/, 1300 660 0131300 660 013 or at the door