Category: Review

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

REVIEW: Matt Okine is BEING BLACK & CHICKEN & S#%T

Not for everyone, but definitely worth the watch

By Myron My

When I decided to see some new comedians for the Melbourne International Comedy Festival, I was instantly attracted to Matt Okine for one particular reason: the name of his show: Being Black & Chicken & S#%t. This was definitely someone with my type of humour.

There was a strong audience warmth projected towards Okine and this is in no doubt the result of the immediate interaction he created with us and within seconds of being on stage. Through his comic discussion of the mundane things in life, Okine connects and bonds with us all including topics such as wheelie bins, sushi trains and – the crux of his routine – fishing.

Okine shares some personal moments with us and the majority of his routine is about a fishing trip with his father and the back-story to that. You can see that when Okine discusses this, he isn’t acting but is being open and honest with his audience, which is an extremely positive quality to have as a comedian.

There were a few moments, which I believe, were a little flat but judging by the audience reaction, I was definitely in the minority. And I am all about not being restricted to political correctness in comedy; it can be offensive and that’s the risk you take as a comedian but used correctly can be extremely funny. I just think there needs to be a build-up to it or a common theme otherwise you run the risk of being controversial for the sake of being controversial.

Okine is definitely a face to keep an eye on. It may not have been the sort of humour I was looking for, but there were enough laughs to consider seeing this rising star of the comedy circuit again. And I also got to learn some very interesting yet disturbing facts about the wonders of sea creatures.

VENUE
Melbourne Town Hall
DATE
Until 22 April
TIMES
Tue-Sat 9.30pm
Sun 8.30pm
PRICES
Full Fri & Sat $19
Full Tue-Thu & Sun $15
BOOKINGS
Ticketmaster: 1300 660 013

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

Review: IMPRO MELBOURNE’s Late Night Impro

Get spontaneous for MICF!

By Myron My

For those who are looking for something a little different for this year’s Melbourne International Comedy Festival, look no further than this, Impro Melbourne’s Late Night Impro performance with their season of Stuck In The Middle.

Improvised comedy is non-scripted comedy based on spontaneity from the performers. Think Who’s Line Is It Anyway? and Thank God You’re Here and you’ll have a pretty good idea on what this is all about.

The premise of this 55-minute, mind-blowing, pure-craziness-of-a-show involves one performer being ‘stuck’ in the middle of the stage with five or six improvisers coming at them with various games and scenes that they must participate in. There is no break for our lone target as the predators surround him. Only sheer smarts and wits will get him out of this alive.

The beauty of improvisation is that every night you treated to a completely different performance. No two shows are ever the same. The improvisers are always different as are the special guests, who have so far included Rama Nicholas, Cal Wilson, Andrew Mclelland and Eric Amber being “stuck in the middle”.

Highlights from Saturday night’s performance were some white male gangsta-rapping, tackling homosexuality in 1970s Spain and a brief history of how Napoleon won Waterloo.  The audience feedback afterwards was nothing but positive, especially from people who had never seen this sort of comedy performance before.

With only two nights left this is the show you must see if you are looking for something inspiring and completely different to stand-up performances during the 2012 Comedy Festival.

VENUE
Melbourne Town Hall
DATES
13 – 14 April
TIMES
Fri-Sat 11pm
PRICES
Full $20
, Concession $15
BOOKINGS
Ticketmaster: 1300 660 013

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

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/

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

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

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

Review: MORGAN & WEST – Time Travelling Magicians

From international television to their intimate live performance: make the time to see this

By Jen Coles

As a fan of magic, I was delighted to hear the Penn-and-Teller-fooling duo Morgan & West were coming to town. As time-travelling magicians from the past, Rhys Morgan and Robert West have prepared an hour to amaze and amuse every member lucky enough to be in the audience.

Featuring a lineup of traditional tricks such as the cup and balls (reinvented to have its own unique and hilarious twist), as well as their own magical inventions, the pair’s talent is incredible.  Their chemistry together makes for some wonderful interplay to break up the show, and they also have a wonderful mastery of audience participation.

Due to the intimate nature of the Butterfly Club venue, the chances of getting picked were high, however the pair relaxed the audience, and made us excited to be a part of their fantastic show.

 The pair, whilst having their own unique talents, also blend together well to create the notion of the ‘false reveal’. A supposed messed-up trick allowed the show to have a through-line with some build, and therefore the final payoff that ended the show was outstanding.

 However, for a show that was so brilliant, it seemed sadly, a little too short as a one-hour block. West briefly demonstrated a talent with cards, and I would have liked to see more card magic  in their program; the hour just flew by, and it was sad to see them go.

The fact that the pair happily shook hands with every audience member upon their exit sums up their performance style perfectly. Wonderfully charismatic and genuine gentlemen, Morgan & West light up the stage with a talent that clearly deserves a long career. We can only hope they tour here more often… or perhaps they can lend us their time-travel secrets to see the show once more.

 

Morgan & West: Time Travelling Magicians

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

Season: Fri 24th – Sat 25th, 10.30pm

Bookings: www.thebutterflyclub.com