Category: Review

Events, Music, Performances, Review

REVIEW: Black Arm Band Present DIRTSONG

Musically superb, but connections were lost…

By Anastasia Russell-Head

A palpable sense of anticipation filled the darkened Elisabeth Murdoch Hall at the Melbourne Recital Centre, the diverse audience ready to be transported and transfixed by the music and artistry of some of Australia’s finest Indigenous musicians. And the musicians did not disappoint.

From the country-tinged vocals of Dan Sultan, to the superb and virtuosic didgeridoo playing of Mark Atkins and the soaring harmonies of an a-capella trio led by the band’s artistic director Lou Bennett, the performances were accomplished, heartfelt and beautiful.

Yet I felt a bit let-down by this performance. Having been blown away by the Black Arm Band’s inaugural production, murundak, at the Melbourne Festival in 2006, I was really looking forward to this newer show. Somehow, though, it just seemed to miss the mark slightly, and didn’t have quite the power or the energy of the earlier work.

The musicianship and talent of the performers could not be questioned – both the featured performers and the backing band were top-quality and produced excellent performances all round. The projected imagery on the backdrop was also visually engaging and often poignant.

However, this performance didn’t reach out and grab me. I was not drawn in by the performers. There was no program or translation to be able to understand the songs that, according to the publicity material, were performed in eleven different Aboriginal languages.

That is something that should be celebrated – but it’s meaningless to us, the audience, if we’re not given some context and explanation. The performers were not introduced, and the audience were not given any hint of what the songs meant to the musicians or why they were being performed that day.

It was a pity that more thought wasn’t given to the audience’s experience of this work, as the Black Arm Band is one of the most important musical ensembles in Australia today, and they have the opportunity and the talent to communicate something powerful and world-changing. Unfortunately, for this reviewer and on this day, this particular show didn’t quite live up to that promise.

Dirtsong was performed by Black Arm Band at the Melbourne Recital Centre on Saturday September 1, 2012

Dance, Events, Performances, Review, Whats On

Review: EIFMAN BALLET PRESENTS Anna Karenina

Rich, rampant and inspiring theatre

By Bradley Storer

In a rare treat for Melbourne audiences, the internationally renowned Eifman Ballet Company bring their acclaimed fusion of Russian classical ballet and contemporary dance to our shores. The company’s aim, under the direction of choreographer Boris Eifman, is the creation of new ballet repertoire that attains the same psychological and thematic complexity as modern drama whilst  exploring the sublime physical dimensions which other artforms cannot approximate. The classic Tolstoy epic, Anna Karenina, certainly qualifies in terms of grandeur and depth, and the Eifman Ballet explores the possibilities of this mammoth novel to their fullest extent.

Ballet by its nature requires plots that can be communicated simply, and in this respect the multilayered and complex narrative of Anna Karenina might have been a poor choice. However, by stripping back the story to focus centrally on the love triangle between Anna, Karenin and Vronsky, the most visceral and powerful elements of the original text are brought to the forefront.

The chorus skilfully express the smothering and oppressive social atmosphere of the St Petersburg court in their tightly formalized and compact dances, gorgeously outfitted in refined dark and grey outfits (alternating with the sleek black leather of the upper aristocracy) which renders them all grandly uniform. Against this unvarying palette come the ill-fated lovers Anna (played in this performance by Maria Abashova) and Vronsky (Oleg Gabyshev), their dances weaving in and out of the static patterns of the chorus burning to be free. Abashova’s achingly beautiful dancing begins trapped inside societal confinements imposed by both court and her husband, and through the first act Abashova shows the soul inside slowly waking to love. Gabyshev is a youthful and virile presence throughout, and when the pair finally consummate their growing passion in a stunning pas de deux, we see the full grace and beauty of their movements, hitherto hidden and stifled, break through the surface at last.

Oleg Markov as Karenin shows us his character’s hopeless entrapment with the bounds of society, the audience aware every moment of Karenin’s simultaneous yearning and inability to break free of the rigid movement imposed on him – when Karenin and his wife dance together, they resemble two puzzle pieces which will never quite fit together.

In Act Two, where Anna and her lover are relegated to the fringes of Russian society as a result of her affair, we delve into deep psychological exploration of the characters’ despair as Vronsky turns to drink and Anna to morphine addiction. The morphine-fuelled fantasy of flesh which Anna dreams is one of the more abstract and challenging aspects of the production, but the final scene which follows provides a thrilling coup de theatre which both matches and heightens the intensely operatic ending and cements this company’s reputation as boundary-pushing and artistically awe-inspiring theatre-makers.

Dates: 29th August to 2nd September, 2012

Price: $55 – $190

Venue: Regent Theatre, 191 Collins St, Melbourne

Bookings: www.ticketmaster.com.au

Dance, Events, Music, Performances, Review, Whats On

Review: MICHAEL JACKSON HIStory II

Gone but not forgotten

By Jessica Cornish

Reminiscent of a Star Trek convention, hundreds of people draped in sequenced jackets, silk white gloves and glittered hats meandered into Her Majestys Theatre last night in anticipation of HIStory II.

This tribute to the legendary Michael Jackson starred L.A based impersonator Kenny Wizz and was supported by his eclectic band who had gathered from across the globe to entertain his Melbourne audience for over two hours.

Unsure of the concept of the night, I was relieved to find that the show was in fact a high-quality tribute concert. No poorly-written jukebox musical storyline, or invented characters trying to make the famous songs in to some poorly-formed song cycle. Instead, the night was one hit after the next, paired with some of the best lighting production I have seen in a long time

Visually the show was vibrant, punchy and consistently changing with the dynamic pop songs. Strobe lighting was heavily incorporated in to the lighting design, giving the dancers and Kenny as MJ a dramatic edge to songs such as Thriller and Smooth Criminal. Three hanging LED screens also featured prominently throughout the night, adding another dimension to the visual feast unfolding.

Unfortunately, during the first half of the performance there were some audio technical difficulties with the front-of-house mix, giving the sound a bizarre ‘paned’ effect, resulting in glaring music randomly jutting in and out of the speakers. Luckily this issue was resolved after interval, and the show ran smoothly.

Kenny belted out the demanding falsetto tunes continually with great passion and conviction. After impersonating MJ for over 28 years, he clearly convinces the audience who were besotted by him throughout the entire performance. Streams of young and old fans alike lined the aisles, dancing in delight.

Throughout the night Kenny was backed by a talented troupe of six dancers who added much energy to the performance. Initially the dancers seemed slightly out of sync with each other at times, but as the show progressed these problems quickly disappeared.

Personal performance favourites of mine were Don’t Blame It On The Boogie, with the dance troupe dressed in black and gold sequenced body suits dancing up a storm, followed by Smooth Criminal which of course included the famous ‘lean’ choreography that MJ made so famous.

Overall the night was greatly enjoyed, and Kenny promised to be back for another run next year. Perfect for anyone who wants a fun night out, a homage to MJ, and an opportunity to forget the mundane troubles of everyday life for a couple hours.

TOUR DATES: Sydney 24/8 & 25/8 Brisbane 1/9, Adelaide 8/9 and Perth 15/9

TICKETS: $89 Adult, $79 Conc/Group 10+
BOOKINGS: www.ticketek.com.au or 1300 795 012

Events, Performances, Review, Theatre, Whats On

REVIEW: Barking Spider Visual Theatre Presents THE MEMORANDIUM

Because good theatre is a real experience

By Myron My

As you enter the stage of The Memorandium to be greeted with cups of hot chocolate by the performers Penelope Bartlau and Leah Scholes, you know this will not be an ordinary theatre experience.

The premise of the show is quite simple: audience members choose a stick with a number on it, which correlates to a wrapped package. As the audience member unwraps it, we are asked to share what memories this item stirs in us. The items are random: teapots, teddy bears, passports, coins…  Using these memories, Bartlau creates wonderful stories for the audience which leaves us with big gaping smiles like we’re children gathered around grandmother for a story before bed.

Bartlau has a skillful storytelling technique and her descriptive language and facial expressions allow you to very easily visualize the tale told.  She and composer/performer Scholes play exceptionally well together to the point where you were wondering if this is actually improvised. It is. Moreover, you can clearly see they are giving each other a good time with their onstage give-and-take over the direction the story takes. The accompanying music is also improvised, with Scholes using anything on stage to create sounds that perfectly blend into the story.

The mood in the audience as we heard these stories went from a room full of strangers to a connected mind, and after the show when you were free to roam through the set we were chatting as if we were old friends.

The stage setting was impeccably detailed with all the miscellany one would expect to find at anyone’s home including all the various items they would have collected over the years, from toys and instruments to crockery and clothing. I don’t believe any amount of describing could do this set justice but to say that designer Jason Lehane has an amazing eye for design would be an understatement.

The experience of The Memorandium makes you realize we are all full of memories and everything has a story behind it, if we just stop to think about it and share them. Leaving the theatre, you can’t help but have a warm and fuzzy feeling inside you – almost like you’ve just had a nice cup of hot chocolate theatre.

Venue: Theatre Works, 14 Acland St, St Kilda
Season: Until 1 September| Wed to Sat 8:00pm, Sat 5:00pm
Tickets: $35 Full | $29 Conc
Bookings: 03 9534 3388 or theatreworks.org.au

Events, Review, Theatre, Whats On

Review: ALL THAT I EVER WILL BE by Alan Ball

Dark and clever script demands strong performances

By Ross Larkin

Alan Ball has established himself as a leading American screenwriter, with award winning credits including Six Feet Under and American Beauty. His knack for confronting and exploring the human condition with dark humour and striking realism seems unparalleled. For many, witnessing his work on stage will be a new experience.

All That I Will Ever Be, although five years old, is a lesser-known play by Ball, and while this particular season has returned due to popular demand, it has seldom been performed state-side or in Australia.

As one might expect from Ball, the play focuses on complex relationships – with sexuality, identity and fidelity largely driving the action. Direction and performance, therefore, are intrinsically key in the success of a story whose foundation relies heavily on the perils and quirks of the human condition.

Ball’s characters are multi-faceted, three-dimensional though somehow accessible – hence his universal appeal.  Yet, in the wrong hands, his work runs the risk of losing that combination of raw yet subtle Ball mystique, falling into average, forgettable territory. Taking on the task of directing such challenging material is not a decision that can be made lightly.

All That I Will Ever Be certainly could have fallen into less capable hands than that of director Robert Chuter who thankfully avoided sappy melodrama with which a less-experienced director may have been tempted. His simplistic set and focus on character were safe though wise choices – unfortunately let down, however, by an ensemble of varying capabilities.

In a play heavily driven by performance, there were thankfully no weak links, but with material of this nature, acceptable simply isn’t strong enough. Christian Heath was one of few who convincingly portrayed inner struggle and occasional outward despair with subtlety, depth and balance to engage and evoke the necessary empathy. Yet as Heath got the stakes rising, enticing the audience into Ball’s world as intended – others would swiftly push viewers back to observer status.

Had the calibre of performers all matched Heath’s, Chuter and Fly-On-The-Wall Theatre could have had a very different result on his hands. The kind that Alan Ball’s work calls for.

PLAYING FROM 01-12 AUGUST
Wednesday – Saturday @ 8.00pm
Sunday @ 6.30pm
Full $29 / Conc $23

CHAPEL OFF CHAPEL
12 Little Chapel Street, Prahran, 3181

BOOKINGS 03 8290 7000
www.chapeloffchapel.com.au

Events, Performances, Review, Whats On

REVIEW: Back to Back Theatre Present HELL HOUSE

Paving the way to a remarkable theatre experience

By Anastasia Russell-Head

I wasn’t quite sure what to expect, turning up at the Artshouse Meat Market for the opening night of Back to Back’s Hell House. Ushered in to the ticket desk, we were given coloured stickers to place on our collars and told to wait until we were called. After a few minutes we were asked to assemble down a flight of stairs in a black plastic-shrouded antechamber. Strange sounds could be heard from round about, and no-one really knew what was going to happen next.

Soon enough the show began, and we were introduced to our devilish guide who walked us through a series of strange and horrific vignettes – a young man’s funeral, an abortion, a car crash, a suicide, a pagan sacrifice – until finally we reached hell itself.

This play originated in bible-belt USA churches, where it is performed annually to thousands of young Christians – the aim being to scare them into re-confirming their faith. Interestingly, Back to Back stages this version as an “anthropological study”, not aiming to pass judgment or present a particular point of view. In fact, the presentation of the play is only one half of the production; the other half being an interactive forum looking at themes of provocation, belief and morality.

For me, the forum (with panelists Scott Stephens, Waleed Aly, Clare Bowditch and Benjamin Myers) was almost more provocative than the play – in that it caused me to completely re-think the way I had viewed and approached the original work. Questions were asked about judgment, consequentialism, good and evil – and Waleed Aly even wove in a few Batman allegories for good measure!

At first I wanted to laugh at the simplistic morality, the black-and-white-ness, the you’ll-all-go-to-hell-sinners vibe of the work. Yet this is not irony. It’s not for laughs (although there are a couple of giggle-worthy moments). It’s not about poking fun at fundamentalism. Rather, this production seeks to begin a discussion and open the door for some serious debate. I’m still musing about it the next morning, which is a sure sign of a thought-provoking work.

Hell House by Back to Back Theatre at Arts House, Meat Market

Until Sunday 5 August

Saturday 4 August: Performances every 10 minutes from 7pm, followed by forum at 8.30pm.

Sunday 5 August: Performances every 10 minutes from 2pm, followed by forum at 3.30pm.

Full $25 / Concession $20

Book online or phone 03 9322 3713

Events, Musical Theatre, Review, Theatre, Whats On

Review: MADEMOISELLE by Michael Dalley

Behind closed doors is where camp comedy begins

By Myron My

I was not sure what to expect from the world premier season of Mademoiselle, advertised as “a gothic camp music theatre revue” with two satirical manservants singing tunes about what could have been, but I knew I would be in for a treat.

Our two manservants, played by creators Michael Dalley and Paul McCarthy, sneak into their employer’s boudoir and let loose some glitzy musical numbers revolving around fantasy, regret, power and servitude.  The very opening song relaxed the audience and assured us that we were in for a night of cheeky laughs.

Mademoiselle is a very wordy and witty revue with just a few jokes falling flat. However, the characters had such an air of assumed superiority that you had to second-guess yourself when you didn’t laugh – was it because the joke wasn’t that funny or because you were just too lower class to get it?!

The banter and bitchy retorts between the two servants as they try to gain one up on each other was a joy to watch and Dalley and McCarthy have a great rapport together. You can clearly see they are having a ball with this. However, I would have liked to see the pair push themselves more with volume and vocal projection – at times, their speaking voices were louder than their singing ones, as if they were holding back during the songs. Also, there were moments during the duets when the performers were not in time with each other, but they were far and few between.

Composer John Thorn on piano was delightful to hear and played with great precision. Favourite numbers of the night were “The Passive Aggressive Filipino Amway Lady” which had me in stitches when the title character met the articulate call centre operator from Dubai, and “The Nasty Queen From Menswear” made delightfully scarier by the fact that I too was once a victim of such a person in previous employment.

The sets and costume, while minimal, added so much to this revue. The constant presence of the toilet was a constant reminder that despite their airs, these two manservants were just that and nothing more. The single props for their impersonations were well-chosen and clearly distinguished their changing characters: from Indian call-centre workers and Filipino Amway ladies to bitchy sales assistants, they were spot on, which is no surprise given Dalley and McCarthy’s established performance backgrounds in comedy and theatre.

Mademoiselle is certainly cheeky good old-fashioned camp fun that will see you leaving the theatre with many belly laughs having been had.

Venue: fortyfivedownstairs, 45 Flinders Lane
Season: Until 19 August 2012 | Tues to Sat 8:00pm, Sun 5:00pm
Tickets: $35 Full | $28 Conc
Bookings: 03 9662 9966 or http://www.fortyfivevdownstairs.com

Cabaret, Events, Performances, Review, Whats On

REVIEW: Elena Knox is BILD-LILLI

Forget the Barbie dolls: this toy story packs a real punch

By Christine Moffat

The publicity material for this show tantalises with the following: “…Before Barbie, there was Bild-Lilli…
Hard drinking and smoking hot, this 50s icon riots her passage from Hamburg to Mattel.” This is not just publicity material; it is the essential back-story for a good understanding of what you are about to watch.  I am not personally enamoured with shows that require homework before viewing, but the ethereal way with which the narrative of Bild-Lilli is treated means that is what this show requires.

That being said, Elena Knox delivers a hard-working, thoroughly-researched performance that deserves the effort it demands of an audience.  If you go along with the (at times) surreal events on stage, you will be rewarded with a thought-provoking and intelligent show.  As writer and performer, Knox clearly aims to inform and challenge as much as she entertains.  Such an approach can divide an audience, and I feel it did on the night I attended. This sixty-minute art-cabaret-theatre-poetry “mash-up” packs in Bild-Lilli’s sixty-year history, along with so many themes and ideas that at times it was hard-going for the audience.

Upon reflection I believe that many of those attending did not have a solid idea of the show they had booked for, as I think this production achieved exactly what it promised.  The show is presented as part of the Helium season of new independent works at the Malthouse Theatre to showcase cutting-edge new works by independent Australian artists.  For my money, Bild-Lilli delivers admirably as  a challenging piece of avant-garde theatre that puts both its audience and performer through their paces.

The show is a realisation of Knox’s artistic vision, with just a hint of shoestring budget.  We are treated to endearingly clunky props and new musical compositions, along with confronting onstage costume changes.  The overall effect is an intense atmosphere in the room that could afford to offer the audience a couple more points of calculated relief.  Bild-Lilli’s poodle Scheisse does his best to assist in this way to great effect.

For me, this is a Frankensteinian recipe of old-school indie-theatre techniques, performance art and cerebral music combined to create a life-sized, freakishly attractive plastic-doll-of-a-show.  It contained just what it said on the box, ready or not!  Overall, I think it is worth your time to acquaint yourself a little with the Bild-Lilli story beforehand, so that the two of you can become even better acquainted during the show.

Shows: 

Tue 24–Sat 28 Jul, Tues 31 Jul–Sat 4 Aug

All tickets $25

For details see 
www.malthousetheatre.com.au/helium

Events, Music, Performances, Review, Whats On

REVIEW: Arts House Presents METAPRAXIS

Only for musical initiates

By Myron My

The talent and skill of everyone who performed at Metapraxis was of a high calibre and I do not wish to take anything away from them in that respect, but as a mere music-loving audience member and not an actual musician, I left that evening feeling unfulfilled by the performance.

The opening act by James Rushford and Joe Talia had me very confused as to what they were trying to accomplish. At one point, I thought I was watching an experimental band performing at a late-night underground club, and felt very uninspired by it.

The choreography of Metapraxis was beautiful, and experimentally playing instruments using traditional and non-traditional methods (such as having fingers for the violin instead of a bow) was intriguing to watch.

There were certainly some captivating moments but sadly, these were just a few moments. “The Long And The Short Of It” for example included a cut-up video of a 5400km long ‘Dog Fence’ being bowed – the longest string instrument in the world. It was interesting to then see this combined with conducted improvisation of hand signals and caption cards.

The Australian premiere of Jani Christou’s rarely performed 1966 masterpiece, “Praxis for 12” was the stand-out of the night with a world of what I can only describe as chaotic calmness created successfully.

It is obvious a lot of time and effort has been put into this performance and the precision with which everyone played is phenomenal. Local string quartet Atticus are to be commended on their skill and talent – as are all the performers – but ultimately, I didn’t feel a connection to the pieces and this is the downfall of this work, in failing to connecting the music to the listener and viewer.

Christou described a ‘metapraxis’ as an “action that goes against the implied logic of an art form – a destabilisation, an implosive gesture, a push against the norms. Metapraxis is a bold venture into this experience.” Unfortunately, I simply felt like a surfer who waited for that big wave to come and take me on a ride – but for me, it never came.

Venue: Arts House, North Melbourne Town Hall

Season: Until 21 July 2012 | 7:30pm

Tickets: $20 Full | $15 Conc

Bookings: 03 9322 3713 or online

Events, Performances, Review, Theatre, Whats On

Review: THE MCNEIL PROJECT

A rare look on the “inside” of Australian life

By Deborah Langley

A cold winter’s evening was nothing to stop the almost full house of punters packing in to see the latest Wattle We Do Next production: The McNeil Project, a duo of plays written by ex-prisoner Jim McNeil.

With thick Aussie accents and hard-to-understand Aussie colloquies the first play starts with energy, passion and enthusiasm. In The Chocolate Frog, two hardened inmates Shirko (Luke McKenzie) and Tosser (Cain Thompson) put their new cellmate Kevin (Will Ewing) on trial, providing a witty commentary on the dynamics between morality and mateship within Australia’s penal system.

McKenzie is a stand-out in this brilliant cast with fast-paced dialogue and a raw masculinity which is truly frightening at times, reminding me of a young Eric Banner and a more attractive Chopper Reed. Although it did take me almost half of the show to get a grasp on the language and the accents (I don’t speak fluent ocker), as the play builds momentum the language softens and some really interesting subjects are brought to light including the difference between inmate life and the real world over communication, understanding and rehabilitation.

As McNeil himself explains: “The ‘outsiders’ looking in felt that ex-prisoners must display certain attitudes of repentance and resolve; while we ‘crims’ were busy trying to convince them that ex-prisoners don’t feel much repentance and are resolved only to extract a fair go from the mob outside.” An interesting standpoint – just a shame I had to read it in the program after the play to really grasp the complexities of the project.

The second play, The Old Familiar Juice, explores sexuality, ownership and hierarchy as three inmates (played by McKenzie, Cain and Richard Bligh) sneakily concoct a boozy brew that acts as a catalyst to unlock dormant primal urges. McKenzie again takes the lead with what I imagine is the “McNeil” character, while Cain shows his diversity performing with innocence and naivety.

I imagine that when this was first performed in the 1970s, the idea of exposing homosexual relationships within the jail system was shocking and even dangerous, but today homosexual rape presented as something justifiable (even within the confines of prison walls) isn’t a concept that sits well with me, that I understand, or even care to engage with.

Directed brilliantly by Malcolm Robertson, McNeil’s writing definitely has an interesting place in Australian theatrical history but like all playwrights who speak of a specific era and context, its continuing relevance still needs to be questioned at some point.

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne

Season: Until 29 Juy 2012 | 8pm Tue – Sat | 5pm Sun

Tickets: $44 Full | $36 Conc | $30 Preview

Bookings: 03 9662 9966 or fortyfivedownstairs.com