Category: Theatre

Review, Theatre, Whats On

REVIEW: Christopher Bryant’s INTOXICATION

Theatre at internet speed

By Myron My

I still remember the excitement in my house when we signed up for dial-up Internet. It brought a new world into my living room with just a tap of the keyboard and a click of the mouse. Seventeen years later, the technological advances we have made have brought this virtual world closer to us, but has it pushed us further away from the real world? Presented as part of the 2016 Midsumma Festival, Christopher Bryant’s Intoxication raises questions about how our reliance on social media, dating apps and smart phones are hindering us from building honest and meaningful relationships with actual people.

Intoxication.jpg

The three performers – Ryan Forbes, Amy Hack and Bryant – each sit on an individual cube and, as if they are in a confessional, share their anxieties with us. Even though there is barely, if any, interaction between the three during these moments, the thoughts and emotions shared are very similar, building on Bryant’s idea that despite all having these tangible insecurities and feelings of loneliness, we seem to drive ourselves further away from reality and into the digital world, where we are free to project the life we wish we had and want the world (wide web) to see.

Forbes, Hack and Bryant are engaging on stage and the interactions they do share have a nice authenticity to them. Despite having similar concerns and worries about being alone and falling in love, they each bring individuality to their characters and stay committed to them the whole time.

Bryant is a talented and thoughtful writer and I would love to be able to read the script to Intoxication so I could fully comprehend everything that he has to say. Every line uttered has importance and carries much weight, however the delivery is so fast and non-stop that when you take a second to contemplate what is being said, you’ve already missed the next two lines of dialogue and find yourself trying to keep up with the performers. There are a few musical interludes to help even out the pace but they feel slightly out of place in their current execution.

Intoxication has many home truths it puts forth to the audience, and I found myself agreeing countless times and seeing myself in the thoughts and emotions expressed by characters. However, allowing the audience to reflect on these thoughts during the show, as well as after, would create stronger emotional connections between the viewers and these characters, and thus produce an even stronger impact from the production overall.

Venue: La Mama Courthouse, 349 Drummond St, Carlton
Season: until 7 February | Wed – Sat 7.30pm, Sun 4pm
Tickets: $25 Full | $15 Conc
Bookings: La Mama Theatre

Review, Theatre, Whats On

REVIEW: Bernadette Robinson in PENNSYLVANIA AVENUE

Gripping, glamorous, and remarkably funny

By Narelle Wood

When I read the release for this, it sounded to me like The West Wing crossed with a musical, which would be awesome. But what the collaboration of playwright Joanna Murray-Smith, director Simon Phillips and actor Bernadette Robinson accomplished in Pennsylvania Avenue was something far better than I could have ever imagined – and my expectations were pretty high.

Pennsylvania Avenue.jpg

Set in the Blue Room of the White House, famously directed by Jackie Kennedy, Harper Clare Clements (Robinson) takes us through her 40-year journey working in the entertainment department. This fictitious character, Harper, laments her personal narrative, interspersed with stories of musical greats whose performances are as much entrenched in the history of the White House as the ‘great’ men who held office. The tails begin with Marilyn Monroe and the Kennedy era and meanders all the way through to the Clintons and Aretha Franklin, all the while Clements describing her part in the musical as well as the political history.

Clement offers a unique and intriguing perspective of the power, privilege and unexpected perks of working adjacent to the Oval Office. And while Clement’s haunting past often acts as a conduit for the music, moments of political struggle and significance are also captured in dialogue and song: JFk’s assassination, the civil rights movement and the Vietnam war, to name but a few.

Anyone could be forgiven for thinking Harper Clare Clement and her exploits to be true. The story is so compelling and plausible: the historic events are portrayed so accurately and Clement’s tale seems an all-too-familiar one in an era that placed such little value on a woman’s voice. The movement of narrative from the ordinary, tragic, and joyous to the extraordinary would perhaps in other setting be unbelievable, but in The White House, anything seems possible. The plausibility is further facilitated by an array of still photographs that appear in the background, capturing and reinforcing the narrative as it moves along. But ultimately the believability factor must be contributed to the combination of Murray-Smith’s punchy writing, Phillip’s direction and Robinson’s embodiment of every character she plays. So accurate is Robinson’s mimicry in both voice and movement of the great musicians that after a Sarah Vaughan number the band broke into applause.

This production deserves every accolade it receives and more. Laugh-out-loud funny, charming and heartrending, Pennsylvania Avenue has all the ingredients for a killer political drama with a killer soundtrack to boot.

Venue: Playhouse, The Arts Centre, Melbourne
Season: Until 14th February, Tue – Thu 7.30pm, Fri – Sat 8pm, Wed & Sat 2pm, Sun 5pm
Tickets: From $65
Bookings: artscentremelbourne.com.au/whats-on/musicals/pennsylvania-avenue

Festivals, Theatre, Whats On

REVIEW: Wayne Tunks’ THE GIRLIE SHOW

Funny, engaging and satisfying new theatre

By Ross Larkin

While writer and producer Wayne Tunks’ latest venture, The Girlie Show, is in some respects an homage to pop’s most famous diva Madonna, the play is more accurately a universal story about relationships, pain and self-discovery.

The Girlie Show.JPG

Directed by Josh Karlik, The Girlie Show revolves around a vibrant group of teenagers in the 90s, who, while queuing to purchase tickets for a Madonna concert, become close friends, bound initially by music and idolisation but ultimately by love and passion.
As the teens navigate their own personal challenges including infidelity, sexuality and the smothering of strict religious parents, the group’s bond widens against a backdrop of song, dance and humorous pop culture references.

Charlotte Fox plays songstress Natalie, who must choose between career and self-worth, while Sam (played by Adam Haylock) deals with a broken family and an addiction to risky habits. Oliver Bailey and Adam Noviello play Jason and Derek respectively, both faced with the conundrum of their feelings for each other versus Jason’s struggle to come out of the closet. Meanwhile, shy and meek Mary (Caitlin Spears) is forced to confront her controlling parents as she rebels against a life of repression.

Fox is particularly excellent (her solo ballad is a highlight), while most of the comical moments are provided by the supporting cast including Tunks himself, who plays Sam’s jovial dad, Tony. Geoff Wallis is hilarious as Vic, a toupee-wearing, sleazy record company executive and also as Jason’s densely naive father, along with his wife, played by Perri Cummings (among other support roles) whose performance and stage presence is strong and engaging.

One of the show’s best moments is a dance number (choreographed brilliantly by Kristen Adriaan-Benton) featuring the whole cast in a slew of outrageous, Madonna-inspired costumes as a centrepiece to the show.

The Girlie Show is a satisfying, coming-of-age mixture of comedy, drama, music and dance whose themes are universal and is, as such, most certainly not just for Madonna lovers!

The Girlie Show is playing now as part of the Midsumma Festival until January 31st, 2016 at La Mama Courthouse Theatre, 349 Drummond street, Carlton.

Tickets via lamama.com.au or (03) 9347 6142.
Festivals, Theatre, Whats On

REVIEW: UNTITLED, OR THE SEAT OF NARCISSA

Faultlessly funny

By Ross Larkin

From the outset, a certain curiosity swells at the prospect of a play with no title, while simultaneously bearing a highly distinct and decided one. This is not coincidental, but rather a sneaky peak into the contrary madness that awaits in writer/director Sofia Chapman’s hilarious new production.

Untitled or The Seat of Narcissa.jpg

Initially a love triangle between three quirky, tenacious women, Untitled, or The Seat of Narcissa quickly evolves to include multiple love-crazed subjects in a chaotic swarm of hysteria while infidelity and passion abound along with music, dancing and poetry.
Penny Larkins is the egocentric and deceitful Viscountess Narcissa, who chews up her lovers and spits them out, all the while demanding the utmost respect and attention.
Falling under her spell are Erica Chestnut as the sassy Duchess of Dullcote and Kate Hosking as feisty go-getter, Baroness of Inverness, while Narcissa’s seemingly dazed and confused servant, Marcello, played by Madeline Hudson, intersects the melodrama with great intrigue.

The humour and wit of Chapman’s writing is immediate and doesn’t stall for a single moment, aided by a strong and energetic cast whose comic timing and delivery had the audience cackling from beginning to end.

Chapman is also responsible for the hilariously witty poetry which merges with the play beautifully, as well as the very fitting and engaging music and comical lyrics. Hudson’s song on the accordion with Hosking on the cello about knowing a Jewish person is a particularly priceless moment.

Add to the mix some wacky and amusing dancing, gorgeous costumes and a slew of double entendres and clever one-liners and the result is a barrel of non-stop laughs, comparable to the likes of Monty Python, Black Adder and Absolutely Fabulous. This is one Midsumma show for the top of your list!

Untitled, or The Seat of Narcissa is playing now at La Mama, 205 Faraday street, Carlton until January 31st.

Tickets available at http://lamama.com.au/ or on (03) 9347 6948.
Image by Annabel Warmington
Interview, Theatre, Whats On

INTERVIEW: North By Northwest’s SIMON PHILLIPS and CAROLYN BURNS

Screen-to-stage hit returns, as creators share their insights with Theatre Press

By Caitlin McGrane

Simon Phillips and Carolyn Burns, the marvellous creative team behind Kay + McLean Productions’ outstanding production of North by Northwest graciously agreed to be interviewed by me over Skype. As the show returns at The Arts Centre for two weeks only from 29 January I was keen to know about how the production came together, what their creative processes had been and what their next project will be.

North by Northwest.jpg

Theatre Press: Can you tell me a little about the production process and what it was like working with the MTC?
Simon Phillips: Well, I used to run the MTC for so long, so I love the MTC and everyone’s my friend, you see…
Carolyn Burns: … Yes, they’re always very gracious about the demands…
SP: And it’s lovely working with the MTC because [North By Northwest] was quite a big project and they took it on with enthusiasm and they were such big supporters. And before that we’d actually had it developed: it had been commissioned by Andrew Kay in Brisbane while we were trying to get all the video concept to come together. We couldn’t really proceed with confidence until we had that sorted out, because so much of putting the production together was unproblematic, but that really was something we had to get right. We did a lot of development with QPAC (Queensland Performance Arts Centre) and then with the MTC itself.
TP: Yes I can imagine that must’ve been quite involved as a process.
CB: The workshop we did in Brisbane we only got up to the airplane scene. It was really about Simon getting the style right before I even started writing, in a way. Because I knew the work and had done a lot of studying and knew the angle I wanted to take, so until Simon worked with Audio/Visual Artist Josh Burns on how to do those scenes… Simon and Josh came up with some brilliant concepts – I think Josh came up with the Lazy Susan.
TP: Can you tell me a little about how you adapted the film for the stage? Did you use any footage of the film? And was it very hard to obtain the rights for that footage?
SP: Well we actually didn’t use any of the footage from the original film. Although one of the main issues we had, was that Mount Rushmore is a copyrighted image so we had to find a creative solution to incorporating that. I always think that if you’re going to adapt a film for the stage there has to be a point of difference because if you’re showing parts of the film on stage you’re essentially saying that the film is unadaptable.
CB: The only real difference was that I wanted to make a tribute to Rear Window, which is one of my favourite films. So, starting off the production looking into people’s windows and getting a slight hint on who they were and what they were doing. The mother playing cards, one of them cleaning the gun, and getting a feel of the spies.
TP: I feel like the script and the way that the play pans out is a tribute to Hitchcock in a lot of ways it incorporates a lot of his themes and his unique visions. Would you agree?
CB: Oh well, I would. I studied [North by Northwest] at film school when I was a student from an art-direction point of view; I did fall in love with his wonderful way of shotlisting, and his take on life and his subtexts, and his mad, mad mind. My job really was to assume that no-one in the audience had ever seen the film, so it could still tell the story if they hadn’t seen the film. And Simon’s was to do everything else; he created the most beautiful set design.
TP: Can you tell me a little about your creative vision? And do you think you were able to realise that vision?
SP: I know it sounds too easy but Liza McLean [from Kay and McLean Productions] said to us after it had opened that it had perfectly realised what we had described and how it was going to work. But it’s funny because I really had to work out the design in order to say with confidence ‘yes I have a way of staging this.’ Actually I only realised the other day when I came across some early sketches that it did go through a hell of a lot of permutations. The two most difficult scenes were the cropduster and Mount Rushmore, and it was those two scenes that we had to make sure we were on top of before we even started. And Carolyn was very interested in the East versus West thing, spy versus spy.
CB: Yes. my favourite line is the whole thing is when Roger, the Carey Grant figure, says ‘you’re as bad as each other.’ And I just thought ‘both countries’ and I think it’s still the same and it’s still completely relevant today, wouldn’t you?
TP: I would completely agree. One of the great things about Hitchcock is that he is so contemporary and still so relevant today. For instance Eve is given her own character arc, she’s not a femme fetale, she has her own character development.
SP: Oh yes and she’s incredibly witty and very contemporary, which is so great and she is much more than a match for [Roger].
CB: And it also shows the development of one of the original Mad Men [Roger] who starts shallow and ends up slightly deeper. I did really enjoy writing for the mother, and in doing so making [Roger] even more of a mummy’s boy. We’re very lucky that Gina Riley has taken on that role.
TP: I just have one final question, Carolyn you mentioned your time at film school, I was wondering if you could give me a brief overview of your journey to the stage.
CB: Well, because I spent a lot of my childhood reading I found that writing was something that came fairly naturally to me and when I was 9 I wrote my first musical. Then I began writing little pieces for the newspaper; I didn’t really begin writing properly until I went to university in Auckland with Simon, where I wrote my first adult play. I’ve had a very long and complicated journey and in some way it has been a sideline to bringing up four children. I learned from Alan Plater while I was at film school that there is a real art to adaptation. But this one, North by Northwest, is really all about the style. Simon and I haven’t worked together that much but it is lovely to work with him now.
TP: That’s wonderful, thank you very much for your time. Best of luck with the next run of North by Northwest and with the opening of Ladies in Black.

North by Northwest is showing at the Arts Centre in Melbourne from 29 January to 10 February 2016. For tickets and more information visit : https://www.artscentremelbourne.com.au/whats-on/theatre-drama/north-by-northwest-2016
Ladies in Black is showing at the Melbourne Theatre Company from 16 January to 27 February 2016. For tickets and more information visit: http://www.mtc.com.au/plays-and-tickets/season-2016/ladies-in-black/

Comedy, Review, Theatre

REVIEW: Noel Coward’s SEMI MONDE

Fleeting affairs and quick-witted comedy

By Narelle Wood

Noel Coward’s Semi Monde presented by Seven Actors is a complex web of scandal and affairs, played out in the streets of Paris, that provides just as many laughs as it does relationships. The recent Melbourne production at Trades Hall was performed by a versatile cast including Kelly Ryan, Jade Thomson, Lisa Dallinger, Ross Larkin, Malcolm Nash, Ebony Higgins and Scott Jackson.

Semi Monde

Set in the mid 1920’s, the opulence of the party era is in full swing. Each of Coward’s thirty characters takes full advantage of the extravagant lifestyle, capturing the flirtatious and risqué nature of expressing, or hiding, one’s sexuality and affection. The play doesn’t focus on any one character or group of characters, rather it moves from group to group as if observing the coming and goings of a whole range of regulars at L’hotel Sept, where the intrigue unfolds. Over a series of lunches and cocktails, relationships breakdown, alliances are forged, affairs begin and love is rekindled. There are, amongst many others, the flamboyant-gossip-loving gays, the newly weds, the author and his amorous daughter, various entertainers and a mysterious Russian.

The intricacies of the storyline coupled with the number of characters and only 7 actors resulted in the play being a little hard to follow at times. There were some very quick transitions between characters that were facilitated by accent changes and costume embellishments; in the 3rd act these transitions were executed with skillful flair as performers shifted back and forth between several characters within only a few minutes. While most of the cast, under the direction of Scott Jackson, formed clear delineations between their multiple roles, there were a few times where the transformations were harder to follow, but it was difficult to tell whether this was due to similar character archetypes or the portrayal of the character.

This enjoyable production of Semi Monde was an ambitious undertaking that was well executed. The production was minimalist but effective, though I couldn’t help imagine a more elaborate extravaganza of characters, sets and costumes. Nevertheless Semi Monde was a frolicking good time.

Seven Actors Present Noel Coward’s Semi Monde was performed from 10-15 December 2015 at The Kelvin Club and Trades Hall.

Cabaret, Performances, Review, Theatre

REVIEW: La Mama Presents GOBLINS

Six women reach across time to seek justice

By Myron My

Melbourne-based theatre company Panopticon Collective are dedicated to creating new Australian work that focuses on national identity and social responsibility. Performed at La Mama as part of their Explorations season, their newest production Goblins attempts to do just that, with mixed results.

Goblins

The “goblins” in this work are six women from six historical eras ranging from 2000BC to 2015, who are telling six individual yet thematically similar stories. Each of these women face some sort of persecution for daring to have control of their mind and body, and for speaking up for what they believe in. Written by Jeni Bezuidenhout and Cassandra-Elli Yiannacou, each story is predominantly a ten-minute monologue as we attempt to get inside these women’s heads and see what drives them to be such a courageous force as they confront their fears.

As we enter the venue, there are six bodies lying on the floor covered in white sheets. It is a powerful scene with which to begin, as we think about these “dead” women and reliving the stories they have to tell. It links well with the writers’ idea of showing history repeating itself and that women who dare speak up or act against social norms will be punished. The cast – Eva Justine Torkkola, Isabelle Bertoli, Kellie Tori, Luke Lennox, Bezuidenhout and Yiannacou – are, for the most part, strong and authentic in their portrayals.

However, I felt the stories themselves needed to be far more distinct from one another. Even across the various eras and with the different actors, by the time the final monologue began, I struggled to remember what each story was. While the narratives dealt with different ideas of persecution, the stories only offered a surface level that did not allow for richly drawn characters to present themselves to us. The anecdote that felt the most authentic and sophisticated was the last (“Danielle’s story”), with the closing moments creating some strong visuals that were poignantly reminiscent of the show’s opening.

The stage design by Marcus Verdi and lighting by Jaidan Leeworthy are prime examples of how less can often be more. Both are able to build adroitly on the hostility and loneliness these women faced in their lives. There is however, a distinct lack of sound or music throughout Goblins, and there are times where its presence could have intensified the emotions and experience for both the characters and the audience.

Goblins is still a work in development and changes are likely. If the writers can focus on telling six iconic stories that have heart and emotion rather than a series of more generic narratives, I feel this could well go on to have a life outside of the Explorations seasons at La Mama Theatre.

Goblins was performed between 7 -9 December at La Mama Theatre
Performances, Review, Theatre

REVIEW: La Mama Presents TRUE LOVE’S SIGHT

A taste of a working Shakespearean reworking

By Myron My

The great thing about La Mama’s Explorations season is that it gives artists the opportunity to present works in various stages of development. It might be the first time it is staged to an audience or a scripted reading. In the case of True Love’s Sight, we see a number of segments from their upcoming immersive theatrical experience.

True Loves Sight

Taking place inside the walls of Athens, the work, created by Michaela Bedel and Nikki Brumen, is inspired by Shakespeare’s A Midsummer Night’s Dream. We meet a number of characters from the play, including Theseus, Hermia, Helena, Lysander and Demetrius. William Ewing, Doug Lyons and  Tamzen Hayes do well with their characters and are confident enough in making their interactions with the audience seem genuine and spontaneous.

At one point, Helena grabs three audience members – including myself on the night in question – and takes us into a shed, where she professes her undying love for Demetrius. Helena dictates a poem for me to write, as Demetrius will not read it if it is in her handwriting. It’s an enjoyable few minutes that allows the three audience members to gain special insight into Helena and subsequently Demetrius. My attempt at passing the poem to Demetrius is quite an enjoyable one.

There is potential for True Love’s Sight to be quite a memorable show, however with only 25 minutes of the production’s current material being performed, it is difficult to get a real idea of what its creators’ intentions are or where it is headed. Even ten more minutes would probably have provided some more basic framework and understanding for the audience, for just as we were becoming more involved with the story, it abruptly comes to end.

The one thing that needs to be ensured for successful immersive theatre however is that no matter in what group the audience members end up or what story they experience, they must still be able to piece a general plot and appreciate its intersecting storylines and the motivations of its characters. From what was witnessed in this performance, True Love’s Sight seems to be going down the right path. 

True Love’s Sight was performed at La Mama Theatre between 4 – 6 December.

Performances, Review, Theatre

REVIEW: La Mama Presents BEERS AND TREES

Promising new work ponders who needs to save the world

By Myron My

Performed as part of La Mama Theatre’s 2015 Explorations season and developed with the assistance of Theatre 451, Beers and Trees by Allee Richards is a humorous yet thoughtful look at not only what makes a person strive for good, but what makes a ‘good’ activist and just how important this activity is. We all want to change the world and make it better for everyone, but we also want to be happy and fulfilled by our own needs and desires. It’s a fine balancing act to get it just right and the question of where this balance lies is what the five characters presented here attempt to answer.

Beers and Trees

Adrian Del-Re is the standout performer in the cast, with his portrayal of Brad being highly natural, nuanced and convincing. The delivery really highlights the comfort that Del-Re has found with this character, and his scenes with Julia Hanna (Ruby) are the most entertaining of the show. Playwright Richards has succeeded admirably in finding clear voices for these two characters, and really fleshing them out.

Relatively new to the independent theatre scene, Luke Costabile delivers a solid performance as Wes who, despite his activist ways, is just as confused as everyone else. The script falters a little in the development of Violet and Isaac (Caitlin Lavery and A.J Steele) however. While the two performers do well dealing with their characters, I found much of their dialogue didn’t seem to drive the point that was trying to be made, and the conversations ending up being more of a tool for Violet and Isaac to antagonise each other.

The direction by Lisa Inman and Tref Gare is consistent throughout, with meaningful actions and body language opening the possibility for much interpretation. With regards to plot however, Beers and Trees starts out strongly, but towards the final stretch it does become a little confusing and too wordy. The climax is missing a strong build-up and the abrupt ending goes against the mood the rest of the show seems to have so carefully focused on.

I am eager to see how Beer and Trees progresses in its next incarnation. With a few small changes in the storyline and some characters, there is potential for this to be a stronger and even more engaging production all round.

Beers and Trees was performed at La Mama Theatre between 6 – 8 November 2015.

Image by Ed Gorwell

Review, Theatre, Whats On

REVIEW: MTC Presents BUYER AND CELLAR

Here’s what Barbra keeps in her basement…

By Caitlin McGrane

As the house lights dimmed inside the Fairfax Theatre at the Arts Centre, I leaned over to my mother and whispered, ‘I don’t know anything about Barbra Streisand.’ This remains true, but I am now certainly informed about her basement. As Alex (Ash Flanders) recounts his fictional employment in Barbra Streisand’s basement shopping mall it was thrilling to revel in the affection that playwright Jonathan Tolins clearly has for the superstar singer. The play was warm, heartfelt and gregarious in all the right ways.

Buyer and Cellar

The play opens with Ash giving a brief introduction to the audience about the book that inspired the play (My Passion for Design by Barbra Streisand) and about how Streisand built a shopping mall in the basement of her Malibu home. Ash then becomes Alex and tells the wickedly funny story of how he moved from Disneyland to Streisand, and how Alex’s relationship with his boyfriend Barry is affected by the new job. It’s a true one-man show, and Flanders did a spectacular job of moving seamlessly between the characters with their idiosyncratic accents and mannerisms. As I stated before, I don’t know anything about Barbra Streisand, but Flanders’ impression of her softly lilting voice and affected mannerisms were outrageously funny.

For the most part the play had me in stitches, however, there were several LA references that went completely over my head and it seemed, much of the rest of audience’s as well. This has nothing to do with the delivery, just that the play was written about a particular place with which a local audience is not necessarily familiar. The saturation of American culture certainly helped contextualise the jokes, but specific references to freeways were always going to go over most of our heads. (I would love to see if something similar could be written about Melbourne; maybe Geoffrey Rush has a Pirates of the Caribbean set up in his garage, I don’t know.)

There is clearly so much passion and fondness for Streisand in the script; director Gary Abrahams has ensured the barbs (pardon the pun) are handled just right – carefully toeing that difficult line between gently mocking and barbarous (I’m sorry I can’t stop). Adam Gardnir simply and effectively designed the sets and costumes; while Rachel Burke’s lighting design was beautiful. For a play about such a massively successful musician, there wasn’t much music, however The Sweats’ composition and sound design carefully adorned and enhanced the performance. Finally, Flanders’ numerous accents were so accurate, that it would be deeply remiss not to mention voice and dialogue coach Suzanne Heywood who has clearly done a marvellous job.

It can make me wary when it looks like the cast and crew of a production have had lots of fun assembling and crafting their work, but in this case it was really joyous to see. Buyer and Cellar demonstrates how reverence can work well alongside gentle teasing, especially if the butt of your jokes is a multimillionaire who really does have a shopping mall in her basement.

Buyer and Cellar is showing at the Fairfax Theatre at the Arts Centre until 12 December. Tickets from: http://www.mtc.com.au/plays-and-tickets/mainstage-2015/buyer-and-cellar/