Category: Review

Festivals, Performances, Review

Melbourne Fringe 2017: VIRGIN BLOODY MARY

Hilariously unholy

If Nadia Collins were a drug she’d be laughing gas. She subtly sweeps in to your consciousness and takes you to hilarious places. In Melbourne Fringe show Virgin Bloody Mary we see Mary’s story in her own ‘words’ – without words – as Collins employs some expert clowning and facial expression plus fantastic use of props, the audience and sound to flip the switch on our Holy Mother.

Virgin Bloody Mary

Upon receiving my ticket, I was briefed that the show has no words and as an audience member I might need to contribute a bit. Accompanied by the reverent chanting of psalms and organ music, Collins was dressed in the iconic white and blue robes complete with halo. She is interacting with each audience member as they come in, warming to them and warming them up for what is to come. The audience is included the whole time, when the breaking of bread turns into a platter party, with bread, hummus, carrot sticks and wine being passed around the audience and everyone having a bit. What a great way to bring people together. There’s mime, there’s drama, there’s a lot of fake blood. I loved how each look builds on the next and proves that expression and intention can communicate so much. The audience was very generous with their contributions the night I attended, my favourite being the donkey to Bethlehem montage. The dramatic birth of the Son of God was three minutes of absolute gold… (and frankincense and myrrh.) Overall I was very impressed with the bold, creative choices made and the way the gags were set up and delivered.

The story of the Virgin Mary and the immaculate conception is one some of us might have more or less the gist of, and Collins relied somewhat on hoping we had some clue about what was going to happen. Portraying such a story without words is difficult, and Collins got most of the elements in clearly enough but some parts didn’t quite make sense, especially the ending. Her facial expressions do communicate a world of words in one brief look, and changed superbly throughout the show, but sometimes however it was a little confusing as the expressive clown disappeared in exchange for a more everyday character. Considering this show did rely somewhat on the audience interaction, it’s exciting to know that Collins’ performance could range dramatically from night to night, depending on what the audience offered her. It showed how developed and strong her character was and the natural funny choices she made. She definitely fits under the comedian category.

I caught this show on its second-to-last night so if there’ s a second season, be sure to catch it. It is another example on the unique audience experiences on offer this Fringe plus slightly twisted take on a very, very old story. Collins is marvellous and serves a range of cackles and belly-laughs on a very well-arranged and delicious platter.

 

Virgin Bloody Mary

Friday 22 September- Tuesday 26th September @9:30pm

Errol’s & Co

69-71 Errol St., North Melbourne

https://www.melbournefringe.com.au/event/virgin-bloody-mary/

Festivals, Kids Theatre, Review, Whats On

Melbourne Fringe 2017: TRASH TEST DUMMIES

Fresh and funny school holiday entertainment

By Rebecca Waese

They sure make a mess but the Trash Test Dummies clean up with extraordinary acrobatic, goofball, bellyaching fun. As my daughter and I entered the Emerald City this Fringe Festival, the trio had already begun with gentle slapstick antics to clean up the rubbish and get imaginations rolling. It was a terrifically entertaining blend of physical comedy, clowning, and interactive fun for the whole family.

Trash Test Dummies.jpg

Dummies Thomas McDonald, Isaac Salter and Leigh Rhodes – fit and farcical with endearing circus personalities – have more adventures than you could imagine with wheelie bins that turn into giant trucks, jack-in-the-boxes, chariots of fire, and teetering towers of gravity-defying human versus bin-balancing stunts. Soundtracks add to the hilarity when the trio carries us into the worlds of Batman, The Lion King, an awkward ballet from Swan Lake and a terrific Great Escape scene.

The Dummies got down and dirty with the audience, crawling over our seats, pelting us with soft balls, tissues, fake flowers and lots of clowning chaos, inviting kids to throw everything back at them and be a part of the action. The flavor of the show suited adults too with some references that were clever and topical.

The hat and pin-juggling scenes were top-notch and the Dummies, while near-perfect, were even fun when they missed the occasional toss and did push-ups for punishment. The slow-motion collisions and frenzied ‘pass the bomb’ bit kept us riveted.

While you’d best not hire these guys for a regular rubbish gig, you’d be lucky to catch them at the Fringe for an hilarious hour of interactive circus silliness and physical comedy. Selling out overseas at the Edinburgh Festival and winning best children’s show at Adelaide Fringe in 2015 and 2016, the Trash Test Dummies will leave you smiling. Kids were so enthralled by the Dummies, they cleaned up the stage for them and jockeyed for high fives after the show. Highly recommended, Trash Test Dummies is a great choice for school holiday Fringe festival fun.

Venue: Emerald City – The Gingerbread House

Dates: Sept 25-30, 2 pm

Tickets: https://www.melbournefringe.com.au/event/trash-test-dummies/

Rebecca Waese is an Honorary Associate at La Trobe University in the Department of Creative Arts and English

Circus, Festivals, Review

Melbourne Fringe 2017: PRECIPICE

Edge-of-seat spectacle

By Joana Simmons

Diving into a world of chaos, National Institute of Circus Arts’ second-year ensemble show Precipice defies danger in an effort to celebrate life. The cast of 19 young athletes, under the direction of Zebastian Hunter and guidance of their world-class teachers, perform exhilarating tumbles, turns, shifts and falls using a range of apparatus in solo and ensemble pieces. This is the most professional student work I have seen at NICA, and is an absolutely astounding production in regards to skill, concept and music.

Precipice.jpg

The high performance space at NICA in Prahran is clad in stark scaffolding and plastic in a set designed by Stephanie Howe. Two performers are suspended from the ceiling, as if they are falling from the sky reaching for each other. The first act is filled with struggle, with performers leaning and reaching, about to jump off the edge, only to be pushed or struck down by another performer flying or flipping into them. The music- played live in violin, cello and piano and directed by David Wiskin provides fantastic tension and adds to the frantic nature of the movement. Standout individual performances included Adam Malone’s hula hoop and head-balancing trapeze act: I was on the edge of my seat as he effortlessly balanced on his head whilst swinging and spinning through the air, above his cast mates lying in a puddle of laughter below. The adagio waltz featuring Poppy Fairbairn and Zion Martyn was also wonderfully refreshing, as they played a couple having a fight at a party and standing on each other’s heads to spite their face. Their characterization and flow through their stunts was strong, and it was supported well by the cast.

Act two found the performers displaying bland urban costume, torn and dusty, with contemporary dance-inspired rolling and twisting, and moving up out of the ground. My jaw once again remained dropped for Ciara Thorburn and Liam Dummer’s chair balancing. The themes began to evolve more through some spoken word, reminding us we are creatures of love and after chaos we emerge, but we need to feel the fear and leap into the void that is change. The mood lightened with the chin-up contest: it is incredible that after suspending themselves in all sorts of directions the performers can bang out 20 chin ups, with the female cast members winning in the end. Overall congratulations go to Lyndon Johnson for his strong performance on the Roue Cyr (big ring) and commitment in the acrobatics and ensemble numbers, while my favourite of the whole show was Emily Chilvers, an absolute gun on the rope, handstands, and acrobatics.

The creative team have done a stellar job of showcasing these young professionals in the best way possible. Directed by Hunter and devised with Meredith Kitchen, not only is this show an athletic spectacle, it also interrogates the impermanence of time, physical and psychological senses. The monochromatic lighting by Matt Cox works well with the industrial set. Some of the ensemble choreography was somewhat predictable, and repetitive, though as it was executed with full commitment it was still highly effective.

Australia’s circus scene is becoming of a higher and higher caliber and it is incredibly exciting to see students be pushed to deliver such a strong and slick production. There’s is a handful of circus shows on this year’s Fringe program: Precipice is a thrilling, eye-opening, edge-of-seat spectacle.

PRECIPICE was performed from Wed 20 – Sat 23 September 2017 at the NICA National Circus Centre. For information about upcoming productions, visit www.nica.com.au

Review, Theatre, Whats On

Malthouse Presents THE REAL AND IMAGINED HISTORY OF THE ELEPHANT MAN

Famous tale powerfully retold

By Jessica Cornish

In a modern world where interesting things continue to be collected and people that are different are still being shunned by society, the heart-breaking historical tale of Joseph Merrick is bought to life in the 2017 season of The Real and Imagined History of The Elephant Man, currently showing at the Malthouse Theatre.

ElephantMan photo credit Zan Wimberley.jpg

Joseph is born different into an cold and industrial society that spits him out on to the cruel streets of nineteenth-century London. People flit in and out of his life, and ultimately he finds himself trapped as a patient at a hospital, entertaining aristocrats and posing as an educational tool for doctors. It is at once his saving grace and downfall, whereupon eventually he decides to return to the streets to live a life of a different nature.

Under the adroit direction of Matthew Lutton, the script as written by Tom Wright is heavy and bleak, but remains scattered with moments of comic relief that break through the darkness. The strong cast of five performers (including Paula Arundell, Julie Forsyth, Emma J Hawkins and Sophie Moss) are well-rehearsed and confident and easily draw you into this atmospheric world.

Leading man Daniel Monks gave an incredible performance, showing great strength and vulnerability as Joseph Merrick. The actor himself also did an extraordinary job in convincingly morphing into the physicality of this character across the entire night, including contorting his face for the duration of the performance.

The stage was remarkably bare and stark, with the muted and minimal set design of Marg Horwell, whereupon feelings of isolation, hopelessness and entrapment laid heavy upon the world of Mr Merrick. This was mirrored in the severe lighting design by Paul Jackson that relied heavily on silhouettes and harsh flood lights.  However, this enduring sterility was then complemented by a beautiful delicate soundscape designed and composed by Jethro Woodward that bought an element of tenderness in to the performance.

This was an inspiring reimagining of the famous real-life story, that shows the best and worst of humanity. It asks its audience to connect themselves to his world and to do what his peers struggled to accomplish: recognise the man that is Joseph Merrick, and allow him to simply be.

The Elephant Man will be showing at the Malthouse Theatre from 4-27 August 2017.

Bookings: Malthousetheatre.com.au

Tickets: Standard / $69, Senior / $64, Concession / $49 , Under 30s & Students / $35

AUSLAN INTERPRETED PERFORMANCE: 7.30pm, Thursday 24 August

Image by Zan Wimberley

Performances, Review, Theatre

Arena Theatre Presents TRAPPER

Captivating for all ages

By Leeor Adar

Arena Theatre has given consistently challenging and engaging works of theatre aimed at their 5 to 25 year-old market since their inception in 1966. The theatre company has constantly kept the issues of interest to youth in the present day in their focus, but what is particularly fantastic about Arena is that the appeal of their work goes beyond the specific age groups for whom they create, appeasing teenagers and their parents alike – or just charming your average theatre-goer.

Trapper.jpg

Their latest creation, Trapper, is a futuristic and visually stunning set created from giant sculptural machines that light up and engage with the performers and their bodies. Designed by co-creator Jolyon James, with sound design and composition by Ania Reynolds and lighting design by Paul Lim (Additive), the stage ebbs and flows with the performers in an extraordinary and exhilarating manner.

From a selection of writings, the performers deliver a series of stories and segments that concern everything from our engagement with technology to the vastness of our capabilities and failings. Under the direction of co-creator of Christian Leavesley, the integration of the ‘trapping’ surrounds integrates so well with the profound topics discussed, and it is the human capacity to continue to exist (despite what we create that can destroy and expand our existence) that forms the underlying theme to Trapper.

Cleverly, the production appeals to its younger audiences as it takes us into the digital everyday life of a teenager – but the wit and whimsy of youth isn’t so far from adult engagement, as we are all reminded of our digital addictions. Once the younger members in the audience are enthralled, the piece continues to ascend to loftier places, with segment by segment asking larger and larger questions, ultimately reaffirming every individual’s place in the chaos of the world around. Thus Trapper artfully touches on an expansive set of topics with humour and poignancy.

Trapper is a thoroughly ambitious project, but Arena and their capable performers (Rachel Perks, Hamish Irvine, Daniel Schlusser and Naomi Rukavina) deliver with total vitality. The season was short, but hopefully this will not be its only one, so when it returns, take along anyone and everyone – Trapper is a journey of delight.

Trapper was performed at the Melbourne Arts Centre from 3-5 August, 2017. For further information about this production and company, visit: http://www.arenatheatre.com.au/

Review, Theatre, Whats On

Little Ones Theatre Presents MERCILESS GODS

Walk into the darkness

By Leeor Adar

Little Ones Theatre manages to make me laugh at the grotesque and alluring once again in Merciless Gods. Whether it’s the description of a hardened criminal unpicking thorns from the tongue of a paedophile or the pungent growth spurt of a teenage boy, beautiful and ugly words cohabit so eloquently at the end of Don Giovannoni’s pen, the result of which is imagined onto the stage with feverish intensity by director Stephen Nicolazzo.

Merciless Gods' Charles Purcell - photo credit Sarah Walker .jpg

The scene is set early on as a gathering of hip university-educated 20-somethings pop pills and dive into their samosas before descending into the truly “bad” things they’ve done. A competition of sorts of the varying evils they’ve seen or committed. Merciless Gods is at its core a series of monologues and performances that capture Australia’s foreign identity and the universal identity of being human, even if it’s grotesque and sadistic. There is enormous vulnerability too in this production, as it lays itself bare to hard truths.

Eugyeene Teh’s costume and set design is a perfect mix of minimalist drama. We have red curtains and a catwalk of sorts for a stage to let the intense performances unfold before us. Intense is honestly an understatement, and I found myself really affected and mesmerised by the actors.

Peter Paltos delivered a monologue that really defined the night for me. As the criminal who commits an unforgivable crime in line with the rest of the merciless gods of the night, Paltos manages to describe with such lush expression the pity he experiences, and the violence of his actions. I am certain the audience had their eyes fixed on his sweat, spit and grit with wonder. Another notable series of performances by the mercurial Jennifer Vuletic really heightened the calibre of this production. Vuletic could inhabit the pious tragic figure of a woman speaking broken English and then swoop on stage in naked cruel glory wearing nothing but royal red robes to tear apart her feminist daughter (Brigid Gallacher).

Despite its darkness, there is a great deal of humour in Merciless Gods. Gallacher’s comic timing sent the audience into frequent bouts of laughter, even when she beautifully and breathlessly gazed upon her teenage son with love and disgust. Of course the humour delivered really emerges from Giovannoni’s writing which in its poetic and succinct quality captures what we think but cannot articulate.

Audiences with softer stomachs and a penchant for political correctness may feel queasy at some of the language, so heed this warning. Merciless Gods is unapologetic in its content and brutality and I find it utterly appealing for this reason.

Take time out of your every day and head to the Northcote Town Hall to catch Merciless Gods. The production runs until 5 August. Book your tickets here: http://www.littleonestheatre.com.au/merciless-gods/

Image by Sarah Walker

Review, Theatre, Whats On

The Butterfly Club Presents SALTY

Happily grotesque and gruesome

By Jessica Cornish

A Rolex, a pearl necklace and a bottle of what might be blood – triggering early shock and surprise for the audience set the tone for this promising production. Salty is both a series of three horror-comedy sketches based on Malay- Singaporian mythology, and a good night out in the CBD.

Salty.jpg

Salty was created by award winning Melbourne Fringe cabaret artist Shannan Lim, supported by performers Tye Norman and Jayde Harding, and together the trio spin tales of debauchery and terror. Lim in particularly has an amazing ability to flip from moments of the mundane into a fiery physical performance oozing with rage and distress, which was an impressive feat to witness.

The performance cleverly used a series of visual projections to support the changing narrative and pre-recorded voice-overs to build on the characters. The scene transitions were well-executed whereby each change-over itself was turned in to a featured event that was enjoyable to watch. There was even an unexpected dance routine thrown into the mix, which was one of my favourite moments of the evening.

As the show progressed, the three seemingly separate sketches all cleverly weaved into one another, and piece by piece the story slowly falls into place. The ensuing plot-line was absurd and interesting, and there were moments of raw humour that caught audience members satisfyingly off-guard.

However, on the night I attended, there were also moments that seemed to fall quite flat, and there were awkward pauses that left an air of discomfort in the room. Moreover, crude language and strong sexual themes are abundant, so if you’re not into graphic descriptions of dominant men describing their sexual conquests and sexual innuendo, maybe give this one a miss. That said, if you are into the absurd, love a good horror tale, and want to see something pretty quirky, this might be the show for you.

Salty is being performed at The Butterfly Club, Carson Place, CBD every night until Sunday 30th of July at 8:30pm.

Full Price: $32

Concession: $28

Group booking:$25

Phone: 03 9663 8107

Bookings: https://sa2.seatadvisor.com/sabo/servlets/TicketRequest?eventId=100903998&presenter=AUTBCT&venue=&event=&version=

Review, Theatre, Whats On

Red Stitch Presents INCOGNITO

Outstanding

By Myron My

The expression ‘the mind works in mysterious ways’ rings true in the stunning new work by Red Stitch Actors Studio. In its Australian premiere, Nick Payne’s Incognito – a poignant play about the brain, Albert Einstein and love – is a beautiful exploration of how our minds do work and how we use memories to create our identity and become the people we are.

Jing-Xuan Chan & Kate Cole_Incognito_7468.jpg

The story focuses on three non-linear narratives, two of which are centred on real people. Thomas Harvey is the pathologist who conducted the autopsy on Albert Einstein and became obsessed with what could be revealed from research into his brain. The second story based on fact is of Henry Molaison, a 27 year old-man who – after an operation to cure his epilepsy – lost his short-term memory which left him unable to remember the detail of conversations he had been having seconds earlier. The third story meanwhile revolves around a fictitious neuro-psychologist, Martha, who has a somewhat nihilistic view on identity and memories.

Incognito‘s narrative structure can be a puzzle to piece together, but as the story progresses, the relationships and links between characters and scenes gradually becomes apparent. Through the astute direction of Ella Caldwell and Brett Cousins, the pace is fast enough to keep momentum building and have you engrossed in the scenes playing out, but slow enough to ensure you never get left behind. The snap changes from scene to scene are executed perfectly and supported by Tom Willis‘ insightful lighting design.

The cast of four deliver accomplished performances in their portrayal of both the central characters and the eighteen additional ones, with each actor taking on between four to six roles. Ben Prendergast as pathologist Thomas brings forth a nuanced performance and Prendergast’s ability to show Thomas at varying stages of his life are a testament to his skill as an actor. Paul Ashcroft is heart-breakingly marvelous as Henry, as he obliviously remains stuck in an eternal time warp. Guest actor with the company Jing-Xuan Chan is also brilliant as both Henry’s long-suffering wife Margaret and as Lisa, a woman who finds herself in a relationship with Martha, played by Kate Cole. Cole brings to the surface the complexities of Martha’s history and views on life with ease but it is in her  evocative portrayal of Evelyn, the adopted granddaughter of Albert Einstein, where she really shines.

With the scenes that take place spanning various cities and time periods, dialect coach Jean Goodwin ensures that subtle differences are picked up on, and each actor does an incredibly skillful job in their convincing accents and being able to switch between them at the drop of a hat. With the story moving through the years, this achievement is also a great indicator of time passing by and allows us to relocate events in some order.

Chloe Greaves‘ remarkable set design perfectly captures the essence of Payne’s play. A piano rests just off centre-stage, its lid has exploded from its place and hanging in mid air, frozen in time. From inside the piano, black string spills out, reaching the ceiling and walls that results in a spider web-like cave and giving an artistic interpretation of how the brain operates. 

Incognito is an intelligent exploration of the brain, memories and identity: about knowing who you are and in some cases, about not knowing who you are. It may be a play that demands we pay attention, and perhaps ironically, puts our brain into overdrive, but it is also an extremely rewarding experience to be seeing theatre of such a high standard performed locally.

Venue: Red Stitch Actors Theatre, 2 Chapel St, St. Kilda.
Season: Until 13 August | Wed- Sat 8:00pm, Sun 6:30pm
Tickets: $49 Full | $34 Senior | $28 Student | $25 Under 30s

Bookings: Red Stitch Actors Theatre

Image by Theresa Noble Photography

Review, Theatre, Whats On

Don’t Look Away Presents FRANKENSTEIN

Snapshots of modern horror

By Owen James

Don’t Look Away’s modern-day production of Frankenstein presents the classic tale reinterpreted to face issues of tolerance, diversity, sanctuary and acceptance.

Frankenstein Image by Sarah Walker.jpg

The horror of this Frankenstein comes not from a fictional, gothic world, but from the mirror that this production holds to the horrors of contemporary Western society. We are asked to reflect on our own place in the world, as Frankenstein’s monster desperately tries to find its own.

The stripped-back script by Lally Katz (after Mary Shelly) presents us with every necessary moment for plot development, but no more. Within a tight 65 minutes, the familiar but gargantuan story is totally reinvented for a modern audience, and then thrown at us in a series of fast-paced vignettes of both drama and comedy, with the themes and characters given a welcome priority. Director Phil Rouse ensures these vignettes are seamlessly connected, finding the thematic flow between sharp bubbles of action and moments of heightened dramatic tension.

The choice of Chantelle Jamieson as The Creation is a compelling and powerful one, her gender and ethnicity intrinsically linked to the thematic content of both the play and the character. She presents a Creature not unlike a possible young woman of today – lost in a confusing world without guidance – and draws every bit of intertextuality out of the text possible, ensuring the audience is left both uncomfortable and amused. With mesmerising stage presence in every scene, it is unmistakably her journey we are following.

The titular Victor himself is presented through an incredibly physical performance by Michael McStay. This Victor is not an arrogant scientist but a man as lost and confused as his own creation. Although presenting levels of both eye-opening physicality and balanced subtlety, McStay’s dramatic side could not always match his natural affinity for comedy.

Their performances are joined with beautifully timed assistance from Martin Quinn as the onstage assistant. Some of the best comedic moments came from the presence of Quinn’s movement or assistance onstage, and I would almost love to have seen more from this quirky addition.

The bold and inventive sound design by Neil McLean creates the perfect atmosphere, and also adds to the comedy of the piece with the synthetic texture of pulsing 80’s beats. Lighting by Richard Whitehouse is evocative and resourceful, matched by sets and costumes by Martelle Hunt, which are simple but incredibly effective.

When exposed and stripped back, the themes and characters of Frankenstein are hauntingly relevant to modern issues prevalent worldwide. The uncompromising sharp wit of Don’t Look Away’s tight production ensures these themes will continue to turn around in your mind long after you leave the theatre. Ultimately we are faced with a question of acceptance, and a challenge to embrace the ignored.

Frankenstein runs at TheatreWorks in St Kilda until July 29, tickets through theatreworks.org.au

Image by Sarah Walker

Cabaret, Performances, Review

Wood & Marsden Present MOTHER’S RUIN: A CABARET ABOUT GIN

Scintillatingly clever and funny

By Bradley Storer

Not being a big gin-drinker myself, I was worried initially that a show entirely about gin would fly straight over my head. I was put at ease straight away upon entering the venue to find the performers jauntily jamming away onstage about groanworthy gin puns to the laughter of the audience – I may not be a gin connoisseur, but I AM a lover of bad puns.

Mother's Ruin.jpg

After the show proper began, we were introduced to performers and writers Libby Wood and Maeve Marsden along with their token male accompanist, indie cabaret star Tom Dickins, in a riotous Kander and Ebb number complete with hilariously minimal choreography before we shot off on a rocketing ride through the varied and colourful history of gin.

Wood and Marsden guide us through industrial revolution London, into the Peruvian jungles and all the way through to the modern day, utilizing music from artists such as Amy Winehouse, Peggy Lee and Nina Simone re-arranged into scintillating three-way harmonies, along with a few choice moments of beat-boxing and the uniquely titled ‘malarial burlesque’. Wood and Marsden’s voices blend and meld beautifully together in harmony, but both are equally capable of unleashing powerful vocals in their solo spots.

What is so striking about the show is how it examines the interconnection of gin, which stereotypically was believed to have been produced and consumed primarily by Industrial-era women, with historical patterns of misogyny and the disempowerment of women that continued deep into the 20th century. While played mostly for laughs, hearing the stories of women throughout the ages subtly suggests that the ‘mother’s ruin’ of the title is not in fact gin, but patriarchal oppression itself as it grinds women down to nothing. When Marsden lets loose an iconic and expletive-filled Martha Wainwright song, the withering lyric ‘I will not put on a smile / I will not say I’m all right for you’ feels like the rage-filled cry of women throughout history spilling forth in defiant indignation.

An hilarious comedy-cabaret with a cunningly concealed sociological undercurrent, it is easy to see why Mother’s Ruin has been enjoying sell-out seasons across the country and we can only hope for even more success for such an original and creatively executed show!

Mother’s Ruin: A Cabaret About Gin played at The Box, Map 57, Jacka Blvd, St Kilda VIC 3182 from 19 – 21 July, 2017.