Category: Theatre

Events, Performances, Review, Theatre, Whats On August 16, 2013August 17, 2013

REVIEW: George Tabori’s MEIN KAMPF

Bold and confronting comedy

By Myron My

The farce Mein Kampf revolves around Hitler’s younger years as a man who is struggling to become an artist (and to secretly take over the world – including New Zealand). In Vienna, he meets a well-educated, bible selling Jewish man Shlomo Herzl, and through this chance encounter, chaos ensues. Written in 1987 by George Tabori – himself a survivor of the holocaust – it is somewhat autobiographical yet it is also a complete fabrication, and knowing this really sets the mood quite fittingly for Mein Kampf.

The three leads; Mark Wilson (Shlomo), Glenn van Oosterom (Hitler) and Mark Bonanno (Lobkowitz) are just phenomenal. Their comedy timing is impeccable and their superb facial expressions and physicality are a testament to the skills and dedication they have brought to the roles. The three of them ensure that every line they deliver is with utter conviction. Wilson is on stage for the whole show – nearly 2 hours – and there is not one scene where he wavers or his energy lowers in this demanding role. Van Oosterom is most impressive as the man with the short and fiery temper, especially when he threw himself into one of his many angry speech-giving tirades the vehemence of which would turn the character’s face red from frustration.

The humour in Mein Kampf is used not to poke fun at the atrocities that occurred under Hitler’s regime but behind the entertainment, we are reminded of the tragedy. Shlomo attempts to persuade Hitler to get into politics and later Hitler comments he will purchase Shlomo a gift: an oven, so he can keep warm. Tabori famously wants us to recognise that the holocaust and events surrounding it “are taboos that must be broken or they will continue to choke us”. The writing is sharp and witty, and despite its plentiful laughs there are poignant moments in the script with dark forebodings of what’s to come. There are a couple of times where the momentum did get lost ever so slightly, including when Frau Death (Uschi Felix) comes to visit and a long scene between Shlomo and his love Gretchen (Stephania Pountney).

I really enjoyed Mein Kampf as I am a firm believer in the idea of there being comic value in everything and through humour we can be educated and informed. The cast were flawless and the laughs kept coming. However – and this is where I feel quite conflicted – there were about ten minutes where I was left morally dubious and extremely uncomfortable. I’m a vegetarian and I don’t impose this view on others but in one scene, a dead chicken is brought on stage and hacked up and drained of its blood with various parts being ripped out, all by Himmlisch, a young Himmler (Samuel Macdonald). It may have been dead, but I was still shocked and disgusted at seeing this and it really dampened my whole experience of this otherwise impressive performance. I feel that as a theatre production, there should be other creative and more sophisticated ways of conveying these visuals and ideas.

Nonetheless, director Beng Oh has done a great job in putting this production together and the importance of having Mein Kampf performed is highlighted with what has been occurring in the world recently. Even after all these years it is very easy for society to discriminate and be hateful towards people because of perceived differences. The absurdity of Tabori’s play succeeds in insisting that we don’t forget, and more importantly, don’t allow anything like those events to happen again.

Venue: La Mama Theatre, 205 Faraday Street Carlton
Season: Until 25 August | Wed-Sat 8:30pm, Sun 6:30pm
Tickets: $25 Full | $15 Conc
Bookings: http://lamama.com.au or 9347 6142

Events, Performances, Review, Theatre, Whats On August 15, 2013August 15, 2013

REVIEW: Melbourne Writers’ Theatre Presents HOW TO SURVIVE AN EARTHQUAKE

Traumatic tale powerfully realised

By Darcy Whitsed

How To Survive An Earthquake could easily be named How To Affect Your Audience With An Incredibly Sad And Harrowing Narrative. It is written by Christine Croyden and details the relationship of two estranged sisters, Stephanie (Jessica Gerger) and Jane (Sarah Plummer) after the death of their mother.

The difference in the sisters’ lives and attitudes is immediately apparent, with Stephanie returning from her duties as a UN peacekeeper to be met by Jane, a Melbournian who has given up the past few years of her life to be a full-time carer for their mother.

The actors relish in the challenge of the show, being required to transform characters, ages and places within split seconds and they achieve this with impressive ease. I did however feel as though the emotional range of the characters was only from sad to sadder to distraught. This is likely due to the content of the play but I personally would have loved to have seen some upbeat moments to contrast with and heighten the tragic ones, especially during the scenes when the sisters where reflecting nostalgically.

How To Survive An Earthquake’s director Glenda Linscott flexes her directorial muscle in the realisation of the story, utilizing lots of non-naturalistic theatrical elements and conventions. The narrative jumps back and forth in time, displaying the sisters’ often painful memories. These transitions are effectively marked with a repeated line or moment that has a visible effect on the characters. This is extremely effective in segueing between scenes and also showing how the memories still affect the characters emotionally and physically.

The technical elements of How To Survive An Earthquake are also superbly integrated into the action. With a combination of live and pre-recorded music composed for the show, the soundscape is gorgeous. Sound designers Dom Buckham and Millie O’Sullivan both perform live from behind the audience: an extremely effective addition, with drums, guitars and other instruments being used with impeccable timing to enhance the dramatic moments of the show and cater perfectly to the audience.

The lighting designed by Jason Bouvaird is also stunning. It utilizes symbolic colours and gobo effects perfectly to mark varying time frames, flashbacks and memories throughout the story’s disjointed narrative.

Overall, this production of How To Survive An Earthquake is a technically well-rounded piece of theatre that tackles how emotional pain can stand between redemption – and forgiveness.

Location: La Mama Courthouse, 349 Drummond Street Carlton

Dates: Aug 14 to Sept 1, Wed to Sat 8pm, Sun 5pm.

Tickets: $30/conc $20.

Bookings: 03 9347 6948 or lamama.com.au

Events, Performances, Review, Theatre, Whats On August 15, 2013August 15, 2013

REVIEW: Fernando Arrabal’s THE TWO EXECUTIONERS

Parodoxes of humanity and morality brought to light

By Myron My

Directed by Mammad Aidani, The Two Executioners deals with the repercussions of a woman who reports her husband to the authorities for an unnamed crime. As he is tortured upstairs, the woman and her two sons argue over their guilt and betrayal.

There are many questions raised throughout the play: why has Francoise reported her husband? What crime has Jean committed? How has this woman created such a strong hold over her sons?

None of these are fully answered and we are left to our own creative devices to ponder and resolve. The lighting also plays a part in creating this intense and ambiguous atmosphere with a lot of shadows being deliberately cast on the actors. The stage is never fully lit with only small pockets given light at a time, thus literally keeping us in the dark as to what is truly happening and who is in control. Another effective direction of Aidani’s was to have the torture of Jean occur off stage – with the audience able to hear his screams of pain our imaginations are forced to create the horror.

Wahibe Moussa is exceptional as Francoise. She initially comes across as a desperate woman and a victim, but slowly crosses the line to manipulator and betrayer. It’s not always clear which way she will go and as Moussa plays the role full of subtleties, you are left guessing even after the play has ended as to whether Francoise was indeed a good person with high morals – or the true villain of this story.

Clearly Francoise is the protagonist of this tale, but I would have liked to see more character exploration with her sons, Maurice and Benoit (Shahin Shafaei and Osamah Sami). Maurice has a lot of anger but also displays conflicting emotions towards his mother which needed justification, and would have been great to see Shafaei able to deal with these contradictions in the narrative. Sami may have had a few opening night nerves but quickly found his way and established his character as Francoise’s ‘favourite’ son, but I felt the ensuing tension between him and his brother needed to be developed further.

There are times when the story does flounder and get repetitive in its dialogue which can sometimes take you out of the moment and undercut the drama. However, what draws you back in is the beautiful and poetic language used throughout the play, which is not surprising given playwright Fernando Arrabal‘s background in poetry.

Overall, The Two Executioners has some strong performances, some lovely writing, and brings to surface many dark questions about good and evil and right and wrong that will keep you thinking long after the lights come down.

Venue: La Mama Theatre, 205 Faraday Street Carlton

Season: Until 25 August | Wed-Sat 6:30pm, Sun 4:30pm

Tickets: $25 Full | $15 Conc

Bookings: http://lamama.com.au or 9347 6142

Events, Review, Theatre, Whats On August 5, 2013August 5, 2013

REVIEW: Mockingbird Theatre Presents EQUUS

Intensely moving

By Vikki Doig

A mere 40 years after it was written, Equus still packs a powerful punch. Originally penned in 1973, Peter Shaffer‘s play follows the case of Alan Strang, a 17 year-old boy who is taken into a mental health institution to be treated after his pathological religious fascination with horses causes him to commit an act of unspeakable violence. Shaffer was inspired to write the play after hearing a story about a boy blinding six horses, as a means of trying to make such an act comprehensible.

The format of the play is a kind of medical whodunit, with the audience acting as witnesses to the unfolding story and development of trust between the two main characters (which, my partner pointed out, was akin to breaking-in a horse). Equus is Mockingbird Theatre‘s current production, and upon entering director Chris Baldock’s eerie world, which is somewhere between a stable and a temple, I was immediately struck by the wonderful overall design, the image of the horseheads hanging on the wall like trophies and the strong, almost tribal, presence of the horse-chorus.

We meet Dr. Martin Dysart, portrayed by a wonderfully well-cast Jeremy Kewley, who expresses his frustration at his profession and questions his own purpose. After a bit of a shaky start to the show (I found myself willing him to slow down his dialogue) his commitment to the role was absolute. Scott Middleton portrayed a beautifully vulnerable and fragile Alan Strang – menacing at first, but more human as the play went on – and the growing relationship between these two characters was a real strength of the show.

Other characters joined and left the action seamlessly, creating a very immediate space in which the motivations of the young boy, his relationship with his parents (played exceptionally well and, at times, comically, by Soren Jensen and Amanda McKay) and his eventual violent contact with the horses could be played out and reflected upon. The horse chorus, all-seeing and all-knowing, mirrored Alan’s emotion in their every movement and maintained strength and focus from the minute the audience entered the space (it was a nice touch to bring them out last at the curtain call!). Particular mention should go to Maggie Chrétien, whose portrayal of the sassy Jill Mason was, although only having a small amount of stage time, one of the strongest performances of the night.

Chris Baldock has created a production faithful to Shaffer’s original script and clearly has great passion for the words and concepts explored in the text. However, having seen an extremely powerful contemporised interpretation of the play in the UK a few years back, I personally felt detached from this version which seemed to historicise the key themes of reason versus passion and rehabilitation versus medication rather than present them as significant and culturally relevant questions which still resonate with contemporary audiences. For this reason and for me, I felt that the production didn’t quite have the power and impact it could have and this was compounded by the questionable English accents from some of the cast.

Despite this, I certainly enjoyed the show and was left with a poignant comment from Dysart running through my head: “Passion can only be destroyed by doctors. It cannot be created”, for working with children in education and the arts always makes this play and its conflict between (seemingly) necessary medication and a natural capacity for passion and emotion profoundly affecting. Because once that passion is gone, can we ever really get it back?

VENUE: Mechanics Institute Performing Arts Centre, cnr Glenlyon & Sydney Rds, Brunswick

DATES: 3^rd – 17^th Aug

TIME: Tue 6^th – Sat 10th 8pm, Wed 14^th – Sat 17^th 8pm

TICKETS: $30 Full/ $25 Con or Groups 10+/ $20 Tue 6^th

BOOKINGS: www.trybooking.com/40833 or bookings@mockingbirdtheatre.com.au

Events, Performances, Review, Theatre August 4, 2013August 4, 2013

REVIEW: Blue Cow Theatre Presents ART

We know what we like

By Myron My

How many times do we see a movie with a friend and we love it and they hate it? Or we go to a museum and are taken in by a piece of art but our friend thinks it’s rubbish. Generally we put it down to a simple difference of opinion, but not in Art.

Produced by Blue Cow Theatre, Art is a French language play by Yasmina Reza and translated here by Christopher Hampton, and aesthetic conflict is at the heart of this comic yet dramatic play.

Serge (Jeff Michel) has bought a painting: a very expensive painting. A painting that is completely white. He loves it but one of his best friends Marc (Robert Jarman) thinks it is awful– to put it mildly – and can’t move on from this. Yvan (John Xintavelonis) is stuck in the middle of this argument trying to pacify the two, but eventually gets embroiled in their fight.

Michel, Jarman and Xintavelonis are perfectly cast in their roles. Their rapport and the strength with which they take on their respective characters was imperative for the success of a play such as this, as it relies so heavily on an emotional response from the audience.

I was particularly impressed with Xintavelonis’ nuanced performance as Yvan, especially in the excellent scene when he’s explaining why he is late for dinner.

The play uses a mixture of monologues, duologues and then ultimately a group scene to tell the story. As an audience member, your state of mind is constantly fluctuating between feeling like an uninvited voyeur to being made the privileged listener in a confessional.

This unease keeps you intensely engaged and wondering what is going to be revealed next and how the characters’ personal thoughts will compare and contrast to their conversations with each other .

Art looks at the fragility of friendship and how vulnerable we can become by letting people in. With a lovely blend of comedy and drama, this play explores the value of friendship, through the issues of art, personal opinion and aesthetic appeal and the importance we place on them.

This production was performed at GasWorks Arts Park on August 1st to 3rd 2013.

Performances, Review, Theatre, Whats On July 29, 2013July 29, 2013

REVIEW: Reunion at THE BUTTERFLY CLUB

Clash of an ex-high school quartet

By Myron My

In the short play Reunion, four friends organise a catch-up to see what life has been like for each since they graduated from high school five years previously. We meet best friends, Charlie and Phil (Gabriel Bergmoser and Finn Gilfedder-Cooney), Charlie’s ex-girlfriend Sophie (Ashley Tardy), and Jane (Kayla Symons), who seems to be harbouring some strong animosity towards the group. As the evening progresses and the shots are downed, secrets are revealed and the tense friendships are tested even further.

Bergmoser, who is also the writer of Reunion, has created some highly entertaining dialogue between Charlie and Phil. Their rapport is very believable and easily establishes the long-time relationship between the two friends. Both Bergmoser and Gilfedder-Cooney also do extremely well in then bringing Charlie and Phil to life. By contrast, I was disappointed with the dialogue and characterisation of Jane and Sophie. I felt more work was needed to give these two women more depth and emotion.

Unfortunately the story of Reunion is also a bit disjointed and underdeveloped, so when it’s revealed why Jane is so angry with the group, I couldn’t help but feel a bit cheated. As an audience member, you are racking your brain throughout the play trying to determine what Jane’s issue could be, and when the reason comes out, my first thought was ‘Is that it?’

The lighting and sound design by Boden Lee Tennant worked effectively in creating the fluctuating atmosphere and I enjoyed the way the sound worked to set the environment for each scene. In fact it was so appealing, I would have liked this to have been continued throughout, with some traffic noises for scenes set outside or water running in the bathroom.

Reunion is a good attempt at character investigation and interaction: although there are still some creases that need to be ironed out, there is great potential for this show should the narrative and relationships be explored further to allow these characters to reach their full potential.

Venue: The Butterfly Club, 256 Collins St (entry via Carson Place), Melbourne

Season: Sunday 4th, 11th, 18th and 25th August | 9:30pm

Tickets: $23 Full | $20 Conc

Bookings: http://www.thebutterflyclub.com

Comedy, Performances, Review, Theatre, Whats On July 17, 2013July 17, 2013

REVIEW: Evgeny Shwarz’s THE DRAGON

Comedy trio Tripod spread their draconian wings

By Ross Larkin

Corruption. Power. Denial. Oppression… Sound amusing? Well, it is.

Toby Schmitz has adapted Evgeny Schwarz’s 1944 satirical play The Dragon into a modern theatrical feast of fiery wit and cleverly apt and poignant dialogue.

From the outset, some skepticism is understandable. Has director, Marion Potts, created a fairy tale? A pantomime? A musical? It’s a little hazy. Soon after, however, it really doesn’t matter.

Melbourne’s ingenious comic trio Tripod (Scott Edgar, Steven Gates and Simon Hall) have not only written the music for the piece, they also perform their catchy soundtrack while portraying the good guy onlookers as well as the contrasting evil three-headed dragon – one hilarious head each.

Sir Lancelot (played with gorgeous charm by Jimi Bani) arrives in a small village to slay said dragon and relieve its inhabitants of the oppression and control inflicted by their so-called ‘almighty’, while rescuing a fair maiden (Nikki Shiels), condemned to wed the manipulative beast.

However, the brainwashed town and its foolishly egocentric and impressionable mayor (the ever-impressive Kym Gyngell), are under the illusion the dragon is to be worshipped as their all-knowing leader, and remain under its spell, oblivious to their repressed existence, and therefore resistant to Lancelot’s quest.

In an Orwellian struggle to revolutionise a totalitarian-wracked culture (coincidently, or more likely deliberately, in line with current Australian politics), Schmitz’s impressively astute and often poetic dialogue, meshed with Tripod’s loveable commentating music and lyrics, is a delightful merry-go-round of tension and fun.

Perched on a very effective revolving set, The Dragon is confronting, thought-provoking, amusing and highly satisfying, thanks to a brilliant script and soundtrack, not to mention a delightfully talented cast.

The Dragon is playing now until July 26, 2013.
Wed to Sat 7.30pm, Sat 2.00pm matinee,
Sun 5.00pm, Tues July 23 at 6.30pm.

The Malthouse Theatre, 113 Sturt Street, Melbourne.

Bookings on (03) 9685 5111 or at www.malthousetheatre.com.au

Comedy, Events, Performances, Review, Theatre, Whats On July 4, 2013July 6, 2013

REVIEW: Charles Ross is ONE MAN LORD OF THE RINGS

Speedily, spectacularly, and side-splittingly funny!

By Kim Edwards

I’ve sat here with a blank screen for some time now when poised to write this review. I have one significant problem.

How to even begin to express how ridiculously and riotously fun this show is!

Forget stretching The Hobbit into three epic movies: actor-comedian Charles Ross has compacted the entire Lord of the Rings movie trilogy into 70 minutes for your unmitigated viewing pleasure. That’s right, one actor to play them all – all the significant characters (so obviously not Arwen), that unforgettable score (with some hilarious new lyrics), every clashing sword and roaring troll sound effect, and Tolkien’s sprawling oliphauntine plot – jam-packed into just over an hour of the best belly-laughs I’ve had in a long time.

The show, directed by TJ Dawe, is unashamedly for the fans. You won’t believe the phenomenal pace and energy with which Ross tears through these famous films, and the uninitiated would be completely lost in moments as he springs and flings himself from character to character and twists and turns in and out of scenes.

I’ve had a few modest viewings of the trilogy myself, but was delighted at how vividly the films came back to me as a man in black coveralls with no set or props conjured up Middle Earth and its inhabitants with some impeccable impersonations and inspired physical comedy (I’ve mentioned this is all done by one man, right?)

My particular favourites include Ross’ Hugo Weaving and Christopher Lee, (although then there were the Gollum and Frodo portrayals…) while the fight with the Balrog, the fly-bys of the Nazgul, and the death of Denethor were outrageously funny and clever (and then there was the fall of Boromir, the march of Ents, the reveal of Eowyn…) Not only did we enjoy the clever characterisations and witty scene segues, but Ross integrates plenty of in-jokes and comic critique to round out his reinterpretation of the classic films.

One Man Lord of the Rings is a tour de force like no other (save perhaps the previous show One Man Star Wars whereupon the pun is intended) – the energy, ingenuity and mimicry is as masterful as a born-again wizard, as hilarious as a drunken hobbit, and as brilliant as the glowing elvish engraved on a ring of power. It’s all done by one man you know, and there are only two more performances in Melbourne: tomorrow night (Friday July 5) and Saturday night (July 6), 7:30pm at the Arts Centre Playhouse.

Have I managed at all to convey the amount of fun I had watching this? No? Then you’d better don your mithril vest, grab your elven sword and go see for yourself…

Bookings: Artscentremelbourne.com.au, Ticketmaster outlets or Ph: 1300182183

Cabaret, Cabaret Review, Events, Theatre, Whats On July 3, 2013July 3, 2013

REVIEW: Dracula’s Presents SPIDERLASH: VAMPIRE VAUDEVILLE

Dinner with the vampire is fabulous fare

By Bradley Storer

After an hour of sampling both the fine cocktails and served a delicious array of meals at Dracula’s Theatre Restaurant whilst being serenaded by a band of vampiric jazz artists, I settled into my seat for the main show – one could only hope it would match the hilarity of the floor show being provided by the dementedly jolly waiting staff!

Luckily I was not disappointed, and my expectations were even surpassed. After a quick introduction to our various performers for the evening, mixed with a stirring group rendition of Muse’s ‘Uprising’, Spiderlash: Vampire Vaudeville launched off with an opening worthy of a gothic rock opera that integrated multimedia to dizzyingly entertaining effect and set the bar high for the entire evening.

Spiderlash is truly vaudevillian in the traditional sense of the word. One minute we’re thrown a stand-up routine that harks back to a music-hall comedian, the next we’re treated to an arachnid-themed aerial routine before we were surprised with a scintillating drag performance (a cameo by effervescent drag performer Art Simone). Dancing skeletons, a garden of living statues, a magic act that leaves most of the performers in various states of impalement and dismemberment – all happen and we were left glowing with pleasure at the sheer breadth of variety. Throughout the evening the audience is deluged with campy good humour that is sure to delight anyone and everyone (though I advise leaving the children at home) with a few choice moments of seriousness that are all the more effective for their rarity. The production values and costume quality for the show are extremely high with technological fittings for nearly every section that makes you admire Dracula’s for their sheer dedication to providing excellent entertainment for their patrons.

All the performers are exceedingly talented, many doubling as musicians onstage and off, and provide a slick, confident experience, especially when interacting with the audience. Special mention to performer Philippa Harrison, whose strong vocals come to the fore in a simmering burlesque performance of Portishead’s ‘Glory Box’ (with a twist I won’t give away here) that held the audience spellbound for its entire duration.

VENUE: Dracula’s Theatre Restaurant, 100 Victoria St, Carlton VIC

DATES: Now playing

PRICE: VIP ‘A’ Reserve Tues–Thurs $105, Fri–Sat $115, ‘B’ Reserve Tues–Thurs $85, Fri–Sat $95

TIME: 6.30pm for ‘A’ Reserve, 7pm for ‘B’ Reserve

BOOKING: www.draculas.com.au , (03) 9347 3344

Events, Performances, Review, Theatre, Whats On June 29, 2013June 29, 2013

REVIEW: Alex Ellis is DROWNING IN VERONICA LAKE

Secret life of a silver screen star

By Myron My

On the 40^th anniversary of her death, Drowning in Veronica Lake is a moving look into the life of 1940s Hollywood film star Veronica Lake.

We enter the theatre and see a buxom blonde with red lipstick, dressed in a white gown that literally covers the whole stage. She is frozen in place, and perhaps in time too. With the trademark peek-a-boo golden locks covering one eye, Alex Ellis is the mirror-image of the dazzling and tragic celebrity that was Veronica Lake.

It’s a flawless performance by Ellis as she encapsulates all the dreams and insecurities of Lake, from the beginning of her story of fame with her bright eyes and aspirations of being a big Hollywood starlet to her first loves. Slowly though, the anxieties slip in as Lake’s glamorous life descends into a series of box-office flops, failed marriages, tax fraud, alcoholism and her ultimate death at 50 from renal failure.

Throughout the play, Ellis also impersonates a few of the people who had an influence in Lake’s life, including her mother and a myriad of ex-lovers but the mobility issue of the dress she is wearing hinders these people from being truly individual. However, this limitation does then suggest that these people have “helped” make Lake what she is now so they are in fact a part of her.

From a technical point of view, Drowning in Veronica Lake is also impressive. With its unwavering spotlight on Ellis, the lighting design is very effective in conveying the idea that this was Lake’s life: constantly in media focus and without a moment of privacy. The music is quite poignant and provides a strong nostalgic backdrop in recreating the era.

Phil Ormsby’s confronting script doesn’t simply paint Lake as a victim of society or ‘the system’ nor yet as a mere perpetrator of her own destructive choices but allows the audience to question this conflict long after they’ve left the theatre. Drowning in Veronica Lake is a powerful one-woman show that needs to be seen – let us hope for a return season soon.

This production was performed at GasWorks Arts Park on June 28 and 29^th 2013.