Category: Review

Review, Theatre, Whats On

North of Eight Presents TOYER

Inviting strangers to play

By Myron My

North of Eight is Melbourne’s new theatre company on the block and they return this month with their second show of their inaugural season, Gardner McKay’s Toyer. The Australian premiere of this psychological thriller takes place over roughly 24 hours with a stranger entering a woman’s life at a time when the city is being terrorised by a man who rapes his victims before lobotomising them.

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Maude (Faran Martin) is a clinical psychiatrist who lives alone in her LA home in the hills and has recently drawn the attention of an unknown voyeur who watches her in the evenings. Peter (Kashmir Sinnamon) is a stranger who has just repaired Maude’s car and needs to use her phone to call his friend. With the “toyer” on the loose, so-called because he toys with his victims before he attacks, it might not be the safest option to let Peter inside, but he’s charming and friendly and makes Maude laugh, so should the risk outweigh the temptation?

Originally published in the early 90s, this play is unfortunately beginning to show its age, and what might have constituted suspenseful and dramatic material originally now results in frustration and disbelief at how the narrative progresses and the decisions the characters make. Coming in at just over two hours, the story becomes repetitive especially with the initial game of ‘will he or won’t he leave?’, and ‘is he or isn’t he the toyer?’ quickly wearing thin. There are some preposterous plot twists that occur, whereupon by the time the truth is revealed, there is very little surprise or interest to be had, and nor do we care what the fate of these characters will be.

While there is some thoughtful direction by Sarah Hallam that allows the actors time to fully comprehend the circumstances their characters find themselves in, there are moments when Martin’s performance seems too theatrical and the emotions her character expresses feel somewhat forced. Maude never feels genuine in her terror, the fault of which lies mainly with her character development in the story. However, there are instances when Sinnamon brings darker human elements to the surface with Peter that are able to ignite some interest from the audience – yet even this achievement can only be maintained for so long with this character before it starts to become predictable.

It really feels like McKay was so determined to create a thriller with Toyer that he ignored plot holes and the character development that could have kept his protagonists interesting and intriguing. Unfortunately the hard-working performances here suffer because of this, and there is unfortunately very little suspense to be felt. As a new theatre company, it would be great to see North of Eight performing more inspiring and contemporary works rather than this decades-old play that demands a lot from its audience and actors with very little pay-off.

Venue: The Courthouse Hotel 86 Errol St, North Melbourne. 

Season: Until 13 May | Tue – Sat 8pm
Tickets: $28 Full | $22 Conc 
Bookings: North of Eight

Image by Arun Munoz Photography

Musical Theatre, Review, Whats On

David M. Hawkins Presents CABARET: THE MUSICAL

Go like Elsie

By Bradley Storer

This production of Kander and Ebb’s Broadway classic Cabaret, opening in Melbourne after a sold-out Sydney season, left me with incredibly mixed feelings – a collection of fantastic elements that never quite coalesces into a satisfying whole. The set, itself a stylized stage surrounded by nightclub seating that neatly blends into the first few rows of the Athenaeum Theatre, suggests a blurring of the line between performance and reality but this is never capitalized on in the show itself. For a musical that should seem eerily relatable in our current political climate, it never becomes quite clear what message this production is trying to deliver.

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Australian cabaret and theatre legend Paul Capsis easily inhabits the role of the Emcee, here depicted like a grotesque ventriloquist’s dummy, and even though he spends most of the evening onstage watching and occasionally assisting in the action he feels oddly under-utilized – darting in and out of scenes, it feels as though we are never given the chance to savor and drink in Capsis’ unique stage presence.

As the central character Cliff Bradshaw, Jason Kos does a fine job in the first act of delineating the character’s stiffness melting away into sexual awakening but his performance became oddly disjointed and robotic towards the climax of the musical which robbed the more tragic moments of any poignancy. In contrast, Chelsea Gibb as Sally Bowles gives one of the best performances of her career, finding the desperation and insecurity lurking under the flightiness and affected ‘little girl’-ishness that Sally constantly projects as a way of escaping her problems. Even as she flees from reality and responsibility, you feel incredibly sorry for her.

The supporting cast as a whole are wonderful. Kate Fitzpatrick and John O’May as the elderly Fraulein Schneider and Herr Schulz had a lovely chemistry, making their ill-fated romance all the more heart-breaking. Deborak Krizak as Fraulein Kost brings her un-erring physical comic chops, and in the final scene even manages to bring a tragic dimension to the character’s fate. The ensemble execute Kelley Abbey’s choreography with ghoulish panache and deliver strong performances in small cameos throughout the show.

Sound issues plagued the entire performance I attended, with a few missed cues and microphones randomly switching off, which would be understandable on opening night – but immediately before she could start singing the title number of the show, Gibb’s microphone completely cut out. She was forced, with the loving insistence of the onstage Capsis and an off-stage yell from director Gale Edwards, to leave the stage completely mid-performance to have her microphone replaced. Capsis sweetly vamped onstage for time before he was given the cue to re-introduce Gibbs onstage, to overwhelming and supportive applause from the audience.  When Gibbs began her number again, the sound issues continued with wash-over from other mics backstage coming through – nevertheless, Gibbs rose above circumstance and knocked the ball out of the park with a performance of the titular song ‘Cabaret’ that not only demolished the hearts of the audience but, astonishingly, even managed to banish any memory of Liza Minnelli’s iconic rendition. It was one of the most electrifying moments I’ve ever experienced in the theatre, and generated a mid-show (and well-deserved) standing ovation.

While the production itself does not always rise to meet such lofty standards, theatre-goers should rush to see this performance for the ages!

Venue: Athenaeum Theatre, 188 Collins St, Melbourne

Dates: 27th April – 20th May

Times: Monday – Saturday 7:30pm, Matinees Wednesday 1pm Saturday 2pm

Tickets: ticketek.com.au, Ticketek outlets or at the venue.

Image by John McCrae

Review, Theatre, Whats On

THE RABBLE Presents JOAN

Magnificent

By Myron My

It was only a matter of time before experimental feminist theatre company THE RABBLE decided to take on the life of Joan of Arc, the woman who helped France win the war over Orléans and was later burnt at the stake for heresy and cross-dressing. Twenty-five years after her death however, she was declared innocent of her crimes by the courts and was canonised in 1920. Her struggle and persecution is something that still resonates with us today, and with a fierce and poignant feminist perspective on her story, co-creators Kate Davis and Emma Valente bring her plight into a contemporary spotlight.

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The show begins with a projection of an eye onto a scrim at the front of the stage. While it originally challenges the audience, there is a vulnerability and apprehension to the blinking eye that lingers in the room. The sound of burning logs and crackling wood as it continues to stare into the audience further builds on the unease and hints at what is to come. While we may know the story of Joan of Arc, there are still plenty of surprising and gripping moments to unfold in this production.

Joan‘s non-linear narrative structure explores significant moments in  life including her visions of angels and saints, the examination she underwent to ensure her virginity was intact, and her execution by fire – spectacularly and awfully brought to life on stage. These vignettes are used as a way of exploring not only Joan’s power and persecution, but also that of all women. The focus is not war or history but the person – the woman – and THE RABBLE construct a strong and commanding voice and presence for their protagonist through the evocative performances from its highly talented and dedicated cast.

The four Joans (Luisa Hastings Edge, Emily Milledge, Dana Miltins, and Nikki Shiels) initially appear behind the scrim of Davis’ set, with flashes of light illuminating them or capturing them briefly before the stage is enveloped by darkness once more. The music and Valente’s lighting create a haunting rhythm which, when paired with her adept direction of the cast with their ritualistic prayer-like movements, fills the room with a supreme intensity, emphasising the devout faith held by Joan.

The projections designed by Martyn Coutts are effectively used (particularly during the character’s aforementioned visions and examination), which allows for various complex feelings and thoughts to be cleverly depicted by the various Joans, complemented by the flawless lighting and sound effects.

While there are no authentic representations of what Joan looked like, in casting four women to play her, Joan allow her to embody womankind. While the only documents that exist of her speaking are those from her trial, this superb production expresses powerful words, emotions and ideas from and to her, and by extension, offers a voice to women across time.

Venue: Theatreworks, 14 Acland St, St Kilda 
Season: Until 30 April | Wed – Sat 7:30pm, Sun 5pm 
Tickets: $38 Full | $30 Conc 
Bookings: Theatreworks

Image by David Paterson

Comedy, Festivals, Review

Melbourne International Comedy Festival 2017: ROMESH RANGANATHAN is IRRATIONAL

Delightfully disarming

By Tania Herbert

A relative newcomer to the comedy scene (he was nominated for Best Newcomer at the Edinburgh Comedy Awards in 2013), Romesh Ranganathan has been a regular face across the BBC stand-up and mock-news genres in recent years. At his first appearance in Australia for this year’s Melbourne International Comedy Festival, Romesh himself queried “Can it be worth it?” to have travelled from his UK home to present Irrational – a stand-up show which has previously sold over 100,000 tickets in its 2016 run.

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Romesh brings a generally self-deprecating style and continual tongue-in-cheek humour which is full of charm, wit and the occasional ‘awww’ (though Romesh, do you really expect us to believe you are exceedingly unattractive?)

As irrationality tends to be, it was a highly amusing performance, and one which Romesh is clearly comfortable and polished in. The laughs were constant and genuine, and created that lovely and not-so-common feeling of a community of laughter in the audience. There’s no particular single narrative or ‘plot’ – it’s a life-ramble through family, technology, politics, entertainment and sexuality, with an ongoing theme of the comedic opportunities one has as a ‘brown person with a lazy eye’ living in the Western world.

Too often it is the case that one goes to see a beloved BBC comedian on stage rather than screen, and instead finds themselves inundated with unsophisticated adult humour. However, this was not the case in Irrational. Whilst swearing like a trooper (and amusing us by his tales of encouraging his children to do the same), Romesh maintains his charisma throughout, though I probably could have lived without quite such a vivid description of an afterbirth.

Overall, this is a fun show, and very typical of both his usual humour and stand-up generally, though I was actually most entertained by his off-the-cuff stuff, which was infrequent but hilarious.

If you enjoy a bit of charming, slightly awkward and lightly-political British humour, then you’ll have a great time at Irrational.

Irrational is playing at The Pavillion at The Arts Centre until April 23, with new sessions added for the 21st and 22nd

https://www.comedyfestival.com.au/2017/shows/romesh-ranganathan

Comedy, Festivals, Review

Melbourne International Comedy Festival 2017: JUPLICITY

All the laughs

By Margaret Weiringa

Early on, Phil Jupitus warns the audience that if they are expecting the Phil Jupitus that you’ve seen regularly on QI, chirpy and flirting with Stephen Fry, that you’re mistaken. The man we are watching tonight is far more filthy-mouthed and very, very hilarious. He’s a master of standup, with perfect timing to draw the audience in before slamming the punchlines.

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Jupiter also mentions that it is tricky being a comic in the age of the internet because the audience may have already seen a lot of his recent work. In particular, he refers to the section of a show that he played at The Apollo that raised controversy for the way he included parts of his teenage daughter’s life in his act. I mention this here, because he tells us he picks up this act from the end of that routine and if you are attending, you might want to check it out first.

The show is quite intimate in the Pavilion at the Arts Centre, a room that may be more often used for conferences than performances. There’s not a bad seat in the house, and it was the perfect setting for the stories Jupitus told of his childhood and of his life. Certainly a highlight was the revelation of his youthful misunderstandings about the facts of life and just how confusing hearing about sex can be to a young child.

Juplicity seemed to disappear in a moment, and I left wanting more. I know I’ll be looking for his act from The Apollo, and I hope that he comes back to Australia again in the future.

Where: The Pavilion at The Arts Centre

When: April 19-22 at 7pm, April 23 at 6pm

Tickets: $46.90, https://www.comedyfestival.com.au or through Ticketmaster 1300 660 013

Musical Theatre, Review, Whats On

Melbourne Premiere of ALADDIN: THE MUSICAL

A show to grant all your wishes

By Jessica Cornish

Soaring into a world of imagination, music, sequins and rich Middle Eastern textiles, the iconic Disney-cartoon-turned-Broadway-musical Aladdin has hit the stage of Her Majesty’s Theatre, kickstarting Melbourne’s 2017 premiere season.

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Aladdin, under the clever direction and choreography of Casey Nicholaw, follows the fairy tale story of the street-wise orphan who unexpectedly finds himself master of a vivacious genie with the power to transform him into a prince and win Princess Jasmine’s heart.

The fast-paced musical closely mirrors the nostalgic cartoon in look and feel. The stage was luxuriously draped with backlit silk drops, hanging pendent lights and texturally rich Arabian rugs and patterns designed by Bob Crowley. A series of appropriately-themed new songs were composed for the stage musical that successfully complimented the original score maintaining the song’s original themes and overall feel, while the well-known favourites (composed by Alan Menken with lyrics by Tim Rice, Howard Ashman and Chad Beguelin) from the original score were all present. “Arabian Nights”, “One Jump Ahead”, “Prince Ali”, “Friend Like Me” and of course “A Whole New World” all dazzle on stage, with the latter successfully incorporating the illusive magic carpet effortlessly flying through a darkened backlit stage of speckled light.

The musical was well cast with impressive leads and a vocally and visually strong ensemble. Ainsley Melham (Aladdin) fit the build and imagination as the lovable lead: he was vocally precise with a solid appealing stage presence and when coupled with his petite co-star Hiba Elchikhe (Princess Jasmine), their characters had a beautiful chemistry together, (although I sometimes wasn’t sure if Jasmine was from the Middle East or the Bronx – there were a few inconsistencies across the board with accent choices).

Hands down Michael James Scott’s larger-than-life presence as the sassy blue Genie stole the show. Shaking the audience to life with topical Australian-tailored comedic references and oozing with glitter and energy, he riveted the audience with his songs and consistently provided comic relief for the narrative, which was well counter-balanced by evil doo-er Adam Murphy (Jafar), who literally seemed to be a delicious reincarnate of the cartoon character.

The sound quality, similarly to the lighting design by Natasha Katz, was vibrant and punchy however periodically Elchikhe’s voice was lost in the mix, overpowered by her male counterparts voices and instrumentation. Similarly, there were a couple of lyrics that were lost in the Genie’s numbers: however, I’m sure these minor sound issues will be quickly ironed out by opening night.

Overall, this musical has it all and is a perfect night out for children big (yes, even the adults won’t be able to resist) and small. This pacey, high-energy musical is gloriously bursting with colour and pyrotechnics and upbeat music. It opened in Melbourne this week, so take advantage of this while you can!

Where: Her Majesty’s Theatre, 219 Exhibition Street, Melbourne 3000

When: April 20- October 22

Wednesday- Saturday evening performances 8pm

Sunday evening performance 6:30pm

Wednesday and Sunday matinees at 1pm

Ticket prices range from $50-$195.00

Bookings: Call Ticketek agency 132 849, visit the website Tickettek.com.au or any Tickettek agency or the Box Office in Her Majesty’s Box Office opens two hours prior to all performances for door sales and ticket collections.

Review, Theatre, Whats On

Eddie Perfect in WHITE RABBIT RED RABBIT

Enigmatic theatre phenomenon hits Melbourne: the less you know, the better…

By Amy Planner

Arts Centre Melbourne in association with Aurora Nova presents White Rabbit Red Rabbit, an unforgettable social experiment disguised as a play. An entirely enveloping performance, this show takes so many turns and goes to such interesting places: most of which are completely unexpected.

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Nassim Soleimanpour penned the now-famous script whilst trapped in his native country of Iran. Devoid of any escape options, Soleimanpour devised a piece that would do the escaping for him and confront the rest of the world in his place.

Eddie Perfect was the first performer to take the stage in this twelve-part Melbourne series (the play will be performed 12 times by 12 different actors). Perfect knew nothing of the script until he was escorted to the stage with only a vial in his pocket, and was handed a sealed envelope.

With a raised eyebrow Perfect gazed at the script inside, and decided – why not? The idea of the cold reading is not a new concept, but also not all that common. So the performer and many audience members were stunned to say the least. Minimalistic is the aim of this play. It relies on the intrigue of the audience and the willingness of the performer. Perfect took it on the chin and was true to the script and honest in his portrayal.

A subtle lighting homage to the White Rabbit Red Rabbit theme, a chair, a table, two glasses of water, a spoon and a ladder are all the actor is given. Each of these elements play a role in this instruction-based performance whilst the actor and audience are guided by Soleimanpour’s words and thoughts.

White Rabbit Red Rabbit is a titillating piece of art, full of theatrical innovation, uncomfortable laughter, genuine thoughts of mistrust and amusing anecdotes that speak to a world much bigger and more complex than we could ever imagine.

This play is an experience. It is the sort of experience that you need to be immersed in and be fairly unprepared for to be fully absorbed by the words, by the unusual circumstance and by the bigger picture. This show should be seen with as little knowledge about its subject matter as possible and as such I have refrained from divulging many details in this review. But that isn’t to say that it isn’t a truly gripping sixty minutes of modern theatre. Go down the rabbit hole – you just have to.

Venue: The Pavilion, Arts Centre Melbourne (Venue to change for other performances)

Next Performance: Featuring John Wood, Saturday May 6, 7pm

Tickets: Standard $45, Concession $40

Bookings: artscentremelbourne.com.au

Performances, Review, Whats On

Flourish Presents LET IT BE: THE SONGS OF LENNON & McCARTNEY

New shows added by popular demand

By Narelle Wood

In this ‘one night only’ performance Flourish Productions showcases a range of songs from the legendary songwriting combination of Lennon and McCartney.

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The eight-singer ensemble treated us to a vast array of classics from the more clean-cut era with the likes of “I Wanna Hold Your Hand” to the more experimental “Strawberry Fields”. There were a combination of ensemble performances, duets and solos, supported by the extremely talented creative director Drew Downing on the piano and an exceptionally tight and talented band (Max Koenig, Bryan Bowen, Dave Banen and Paul Congdon). The band by themselves would have made for a spectacular performance, especially with some killer solos on the saxophone and guitar provided by Koenig and Banen respectively.

That is not to say the vocals weren’t spectacular themselves. There were many highlights including the ensemble performances of “I Wanna Hold Your Hand”, “Ob-la-di Ob-la-da” and a stunning interpretation of “With A Little Help From My Friends”, which started with eight-part a cappella harmony, highlighting just how talented this group are. There were also some standouts solos, including Tyson Legg‘s haunting rendition of  “So This Is Christmas”, Vidya Makan‘s funky version of “Lucy in the Sky with Diamonds” and Jess Fairlie‘s ‘dirty’ performance of “Let’s Get Together”. One of my favourite performances of the night was Makan and Ana Mitsikas‘s duet of “Ticket to Ride”, providing a funky jazz piano accompaniment as well as the smooth vocals. Overall though, for me, it was Fairlie who stole the show with a powerful and enigmatic performance of “Hey Jude”.

There were a couple of things I wasn’t a fan of: there seemed to be a lot of erroneous  microphone-swapping and some of the backup movements and choreography was a little cheesy. There were a few interpretations of the songs that I weren’t keen on; they didn’t quite match my expectations. Jack Lyall‘s teenage angst take on Yesterday didn’t work for me, yet his performances in the more gritty rock style numbers were fantastic. It was clear the ensemble have a range of experience and there were some that are still finding their performance feet.

Nitpicking aside, the night was fantastic, the show was sold out and the audience were singing and dancing along in their chairs. The diversity of ages in the audience were a testament to the timelessness of Lennon and McCartney’s work, and the applause at the end a testament to the quality of the show. While Let it Be was supposed to a one night only performance, there are now two more shows scheduled. If you want to treat yourself to tickets, and I suggest you do, do so quickly as I expect there will be many people keen to attend these encores.

Venue: Chapel Off Chapel, 12 Little Chapel, Prahran

Season: 29th April 3pm & 8pm

Price: $35 full $30 Concession $25 Child

Tickets: chapeloffchapel.com.au phone 03 8290 7000

Review, Theatre, Whats On

Bitten By Productions Presents DRACULA: THE LAST VOYAGE OF THE DEMETER

Atmospheric and intriguing

By Rachel Holkner

Dracula is a character who requires no introduction, no commentary and, one might think, no new stories. Dracula: The Last Voyage of the Demeter proves otherwise. This new play by Sean Carney fills a tiny gap in the story we know so well, providing an explanation for what happened on the ship Demeter before its arrival at Whitby.

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Set entirely in the ship’s hold with the chained vampire holding court, various members of the crew and passengers descend the ladder out of necessity or curiosity. There Dracula does what psychopaths do best: charm them in to revealing more about themselves than they intended. Tension builds as the unseen crew of the ship, slowly at first, then with impossible rapidity, are murdered or vanish.

Carney’s writing is assured, but occasionally misses a step through basic anachronisms or overt exposition. There is no humour to this dark tale of human flaws, yet the dialogue is scattered with truly clever language and witty notes which effectively relieve the strained atmosphere.

Gregory Caine as Count Dracula pulls the story along beautifully, commanding the stage faultlessly. Unfortunately this only highlights the rather static performances of the other players who rarely change the pitch of their rather one-note characters. Mumbling Nichols (Matthew Elliot) was unfortunately incomprehensible at times, while Captain Atkins (Robin Darch) suffered a similarly wobbly accent.

As the characters descend in turn to bargain with the captive monster the play becomes repetitive, due in part to static stage direction. Ineffective use of the space grew tiring to watch. Surely the single chair could be moved to elsewhere on the stage to provide a little relief. I feel opportunities were also missed by director Ashley Tardy to utilise the terrific staircase into the performance space that the venue provides.

Celina Mack as young Elizabeth and Stephanie Daniel as her mother Jessica make an excellent partnership, effectively portraying that relationship. I would have liked to see Gabriel Bergmoser as Gibson and Chris Grant‘s Hopkins have an opportunity to play off each other a little more too as their characters were so at odds with each other.

Effective set dressing and costuming set an impressive claustrophobic atmosphere of a ship’s hold to the venue; audio effects and of course theatrical smoke to represent the fog set the audience well inside the story before the play even began.

Dracula: Last Voyage of the Demeter is the perfect piece to head to as a respite from the Comedy Festival.

Thursdays to Saturday from April 13-22

Club Voltaire, North Melbourne

https://www.trybooking.com/book/event?eid=265879

Review, Theatre, Whats On

Australian Premiere: LORD OF THE FLIES

Ingenious and engrossing

By Tania Herbert

The audience enters the theatre to a construction-like muddle of a set and a cacophony of shouts, breaking glass and general mayhem, with the only light on stage being an ominous metal doorway, from which the shouts and smoke emanate.

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The Australian premier of Matthew Bourne and Scott Ambler’s adaptation of Lord of the Flies starts with a literal bang – and we see the ‘troop’ of twenty-three children come in, military-tattoo style for the opening number, with only the slightest hint of the soon-to-emerge animal inside. Lord of the Flies takes a daring twist on the William Golding’s classic 1954 novel of a group of British schoolboys lost on a tropical island during a wartime who quickly give way to primal natures. Here however, it is suggested that the children are trapped in the theatre itself.

The apocalyptic background hidden behind the narrative book is much more apparent in this production, with the audience continually aware that while salvation is only behind the door, it may be no less fear-inspiring than what is happening on the inside.

I must admit, I missed the prose, and there are limitations by the lack of verbal character description (capturing Simon’s probable psychosis, or Piggy’s keen intellect, for example), but by the conversion of words to dance the emotions of each character were beautifully captured, and the talent of these young dancers keenly showed the turmoil both without and within for each characterisation.

Despite being aged between 10 and 25, there was incredible maturity to the cast. Whilst the dancing was wonderful, the cast also managed to hold the feeling that you were really watching children with all of their emotions and individualities, rather than a precision dance troupe. This was particularly aided by the play of the choreography, shifting the youngsters between states of complete chaos and strict organisation, and showing off the incredible range across the performers.

One differing element in this adaption is that the intensity is apparent from even before the show begins, whereupon the original ‘innocence’ which is so soon to be lost is not truly captured. With such an intense beginning, it was difficult to see where the production could go with building this – and indeed it did not reach anticipated peak with the inevitable ending (let me be obtuse on the off-chance our readers never reached the end of the book). What was awe-inspiring though, was that a group of such young people were absolutely able to hold that intensity for every moment of the production. Indeed, rather than action scenes, it was the solo moments which were most moving to the audience- Simon’s (Patrick Weir) battle with his demons, the littleuns’ fear of ‘the beast’, and Piggy’s (Luke Murphy) anguish at losing his sight.

Overall, the symbolism of the theatre as the island transferred extremely well, though the infamous beheading of the pig sat awkwardly in the metaphor. However, this production was a truly unique rethink of a classic utopia-turned-dystopia tale, and a spine-tingling dance performance. A passing comment by another patron on my way out perhaps seized how effectively Lord of the Flies captured the contemporary horrors of children and warfare: “It could have been in Syria.”

Lord of the Flies is showing at the State Theatre, Arts Centre Melbourne, April 5-9. Bookings: https://www.artscentremelbourne.com.au/whats-on/2016/dance/lord-of-the-flies?m=performances