Category: Whats On

Cabaret, Theatre, Whats On

HOT BROWN HONEY: Return Melbourne Season

Superbly sassy, socially significant, and simply spectacular

By Jessica Cornish

Hot Brown Honey is vivacious, provocative and highly entertaining. The all-female powerhouse cast has created an engaging and daring 75-minute package that  encourages the members of its audience to reflect on their social roles in challenging gender and race stereotypes. The production successfully managed to strike a perfect balance of playfulness and fun whilst addressing serious and troubling aspects of our society.

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This raw production directed by Lisa Fa’alafi has immense potential to be an incredible piece of art, with only some further refinement needed to add complexity and sophistication to already good circus items, such as hoola hoop routines and an emotive aerial cloth number. The women cleverly weaved important quotes and messages about colonization, cultural appropriation, domestic violence and liberation throughout the performances enveloped by hilarious skits highlighting the all-too-familiar bogan-like behaviour often witnessed overseas in our neighboring city, Bali.

The music was well-chosen and arranged under the direction of the enigmatic Kim ‘Busty Beatz’ Bowers, although I sometimes felt the MC was a little out of breath. Overall the music was upbeat, bottom-heavy and just playful. I loved it all – plus the evening featured some impressive female beat-boxing.

The set was a dynamic beehive that was well-utilized with back light and a platform for the MC and others. Unfortunately, the lighting design seemed a bit under-developed and needs to be reviewed. There were often unused spotlights, performers were left dancing in the dark at times and weird beams of light fell across artists’ faces because of the follow-spot poorly blending with the stage lighting.

Overall, this show was completely fascinating, empowering and voiced an important message for each Australian to consider. The performance forces you to reflect on the role you play within broader society, our positions of vulnerability or privilege, and how we are perpetuating or fighting everyday stereotypes.

Hats off to the wonderful and talented women of Hot Brown Honey: Kim ‘Busty Beatz’ Bowers, Lisa Fa’alafi, Materharere Hope ‘Hope One’ Haami, Alexis West, Ofa Fotu and Crystal Stacey. Their voices deserve to be – and should be – heard.

6 – 11 December, 2016
Thursday 8 December, 7.30pm
Friday 9 December, 7.30pm
Saturday 10 December, 7.30pm
Saturday 10 December, 10.30pm
Sunday 11 December, 7.30pm

VENUE

Melbourne Arts Centre

BOOKING

https://www.artscentremelbourne.com.au/whats-on/2016/comedy-cabaret/hot-brown-honey

Review, Theatre, Whats On

Twelve Angry Presents BACHELORETTE

Satisfyingly dark and disturbing

By Caitlin McGrane

Bachelorette by Leslye Headland is a razor-sharp tragi-comedy that exemplifies what I have been saying for years – we need more unlikeable female characters on stage and screen. The 2012 film of the same name is a classic in my house, although its final act never quite seemed able to live up to the saltiness promised in the set up. This latest version from Twelve Angry more than fulfils those promises.

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Twelve Angry is a Melbourne-based independent theatre company with the specific aim of championing the creative voices of women. In this production, director Matilda Dixon-Smith has created something so dark and twisted, yet utterly brilliant, in its illumination of how society treats women. Bachelorette is fucked up – none of the characters are likeable and, unlike the film version, they are irredeemable in this stage show; I promise this is a good thing.

The play opens as Gena (Rebekah Robertson) and Katie (Lucie Gavanon) enter a hotel room heavily stockpiled with booze and cocaine. They mope about, complain about their lives and discuss the upcoming nuptials of their “friend” Becky (Sara Tabitha Catchpole). The repeated references to Becky’s weight (she is almost exclusively referred to as ‘Pigface’) demonstrates how women are often valued only in relation to their fuckability – none of her high school friends can believe she is the first one to get married. Gena and Katie are kind of fine as characters, but I felt the show only really got interesting when Regan (Holly Brindley) showed up. Regan amps up the chaos and brings back the repugnant Jeff (Joshua Monaghan) and the pitiful Joe (Conor Misson).

Carnage reigns supreme in Headland’s script, and set designer Gabby Lewis (supported in the construction by Nick Sanders, Eva Stacey and Hanna O’Keeffe) has cleverly mirrored the depravity in the play in the set as the place actually starts to fall apart.  Costume designer Hannah Crone and wardrobe assistant Bec Hill’s carefully chosen outfits fit the characters well. Lighting design (Siobhain Geaney) and sound design (Jess Keeffe) was fine, but could probably do with some more subtlety to help enhance the performance. There was a notable and awkward lack of sound in the opening scene, which might easily be rectified.

It’s always a delight to see productions that support women in creative fields (in fact it’s ways good to see women supported in any field), but Bachelorette does something unusual in showing how nastiness and aggression aren’t the exclusive preserve of men, and unlikeable female characters reinforce the idea that women don’t need to be likeable – we’re not here to help you deal with your feelings and/or guilt. Katie, Regan, Gena and Becky are unashamed of their shortcomings, drug and alcohol abuse and disordered eating, but rather than glorify these traits, the play shows how truly tragic it is that we expect women to shut up and deal with this stuff – our problems aren’t any easier just because they’re unseen. In fact that might be the most tragic thing of all.

Twelve Angry presents BACHELORETTE

6-11 December 8.00 PM \ The Stables, Meat Market, North Melbourne

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Bookings: chook.as/twelve-angry/bachelorette

Festivals, Theatre, Whats On

Poppy Seed Festival Presents F.

Making text about sex

By Myron My

It’s probably rarer now for parents to need to sit down and speak to their children about the birds and the bees. Books such as “Where Did I Come From?” now seem obsolete, and by the time teenagers are learning anything to do with sex education in school, they already seem to know it all. Presented by Riot Stage as part of the Poppy Seed Festival, F. attempts to explore how a group of teenagers come to terms with sex and sexuality as most people of the last decade have – through technology.

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Unfortunately the execution is not always successful, as the production’s central concern with how technology is used with sex is at times completely ignored, or does not explore issues raised to any great depths. Thus, one of the main story lines – where two friends enter into a sexual relationship – is surprisingly developed without featuring the use of any social media or technology whatsoever, apart from one scene where the male character refers to the three voicemails he left her. In contrast, a female character’s revelation that an ex-partner has put a naked photo of her on the internet is initially met with mediocre disgust by her friends but is then immediately dropped and never mentioned again – nor do we see any impact this event has upon the character.

Despite being developed from online survey content and real-life narratives, the stories explored in this production never seem to come from a place of authenticity or honesty, and feel like they have been chosen or created in an ambitious attempt to cover every possible topic regarding teenagers and sex: masturbation, vaginas, homosexuality, suicide, porn, masculinity, and so on, and so on. Within this plethora of material, I felt the characters portrayed lacked motivation, and there appeared to be a need for more guidance in the young cast’s valiant attempts to show these teens as real people.

Katrina Cornwell‘s direction creates some strong visuals, especially during the musical interludes where all the characters appear on stage at various times before disappearing backstage again. The interesting solipsistic idea that all these characters’ emotions and thoughts belong to one person is best explored here and in the final moments of the show, where sentences begin to flow into one another as two microphones are shared between the cast of twelve.

With a tighter narrative structure and further thoughtful examinations of its characters’ desires and drives, F. could certainly be a piece of theatre with something important to say. But at this stage, investigating the role of the internet when it comes to learning about sex and life is not a new concept, and sadly, F. – in this current production – fails to add anything new to the mix.

Venue: Trades Hall, 54 Victoria St, Carlton
Season: until 11 December | Wed – Sat 8pm, Sat 2pm, Sun 4pm
Tickets: $35 Full | $25 Concession
Bookings: Poppy Seed Festival

 Image by Sarah Walker
Cabaret, Musical Theatre, Review, Whats On

Vic Theatre Company Presents THE GATHERING

Plenty of charm and intrigue in new Australian musical

By Rebecca Waese

Vic Theatre Company’s The Gathering, directed by Chris Parker, is an original Australian musical about friendship, love and loss inspired by the spirit of the Millennial generation. A group of twenty-somethings reunite in a haunted house to see their friend Tom (Joel Granger) who has surfaced after five years. When Tom runs away again, the friends stand by one another, (think of an Australian Rent meets Scooby-doo and the gang), and Tom begins to emerge from the shadows of his mysterious past.

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There is plenty to applaud in this production (with book, music and lyrics by Will Hannagan and Belinda Jenkin) and in this company of young performers who are promising, self-possessed and leave their hearts on the stage. Outstanding vocals are delivered by Luke (Daniel Assetta), playing the camp best friend of Tom’s foster sister Kelly, (Shannen Alyce Quan), who is another strong talent to watch. Quan shows power and vulnerability in “Sweet December Feelings” with subtle and nostalgic references to the particular qualities of an Australian summer. Daisy, (Hannah Sullivan McInervey), shines in her solo, “Hair So Long” and Sullivan McInvervy’s voice brings a refreshing and unexpected Missy Higgins-type quality to the ensemble.

The vocals, however, under the musical direction of Daniel Puckey, are far superior to some of the lyrics, and there are a few weak plot points in the show. A handful of too-obvious rhymes calls out for the guiding hand of an experienced dramaturg. Yet, the open spirit of the young company made me forgive some of the clangers and the performers did well to shroud them with humour and ironic deliveries. Luke’s memorable line to Kelly, “I apologize profusely/ by making you muesli,” struck a playful note as the friends negotiated their path to adulthood amidst the chaos that growing up and apart brings.

There is some enjoyable comic work by Mia (Olivia Charalambous), and a compelling dramatic moment when Tom asks why Luke didn’t help him when he needed it most. Heartbroken Joe (Daniel Cosgrove) was delightful when Daisy’s line, “we’re on a break”, lead to a sudden realisation.

The Gathering captures a sense of the moment today for young Australians out in the world, released from share-houses and uni and beginning to make their way as adults. The big company numbers are exuberant with “Never Ever” re-living the classic drinking game, “Haunted” lit by Iphone-wielding ghost-busters, and “A Different Kind of Love” bringing resolution to Tom and his friends as harmonies fill the space. There is a distinct sense of Australian place in this musical, which, despite some awkward lyrics and plot holes, speaks openheartedly and with comic self-awareness of this moment in time for the Millennial generation. Whether this is your tribe or you want to eavesdrop on their moment, The Gathering is uplifting and has much to offer.

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne

Season:
Nov 30 Dec, 2, 6, 8, 11, 7.30pm
Nov 26, 4pm, Dec 3,10, 8.30pm
Nov 27, Dec 4, 3pm

Tickets: $38 – $42

Bookings: 03 9662 9966 or online

Image by James Terry Photography

Rebecca Waese is a Lecturer in Creative Arts and English at La Trobe University.

Musical Theatre, Review, Whats On

Vic Theatre Company Presents THE LAST FIVE YEARS

A performance to fall in love with

By Bradley Storer

A woman enters her apartment after a long day of work, placing her bag on the table and letting her hair down before spotting a letter left on her bed, along with a set of keys. With this heart-breakingly simple image, the complex narrative of Jason Robert Brown’s off-Broadway classic The Last Five Years begins to unwind in this production by Vic Theatre Company.

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The Last Five Years is a musical that presents many challenges – along with balancing the audience’s sympathy for two people shown at their respective worsts, the concept of each character’s story unfurling in opposite directions (his forwards, hers backwards) means there is normally no direct interaction between the two characters, eliminating the chemistry needed to make the central love story work. Director Chris Parker has chosen to have both characters present in relevant scenes, which is effective in some scenes (‘See I’m Smiling’ and ‘If I Didn’t Believe In You’ in particular) but less so in others where the apparent silence of one character for the entire time doesn’t always work. Brown’s wonderful score however remains entrancing throughout, beautifully played by the band under Daniel Puckey, with the simple but intricate set by Daniel Harvey unfolding in a multitude of ways to enhance the action.

Verity Hunt-Ballard is nothing short of brilliant in the role of Cathy. She wrenches the heart in her opening song, ‘Still Hurting’, manages to make the character sympathetic and delivers pure musical comedy gold in her ‘A Summer in Ohio’ and ‘Climbing Uphill’ – even in the scenes where she doesn’t speak, Hunt-Ballard conveys powerful emotion with just a look and a cheeky smile. Her performance alone is more than worth the price of admission.

Josh Piterman as the charismatic wunderkind writer Jamie ably handles the early parts of his character’s journey, his whirlwind romance with Cathy blossoming alongside his literary career, and sensitively performs the emotionally ambivalent ‘If I Didn’t Believe in You’ before losing his footing towards the end. The character’s final songs don’t have quite the impact they could (despite a nice symbolic touch involving a memento from earlier in the piece), and the last few moments of the show lose their full weight.

A problem with the musical itself is that it never seems to fully suggest what conclusion or meaning we should draw from watching Cathy and Jamie’s relationship disintegrate – but the final image of Cathy, her face lit up by the elation of newfound love as she retreats into darkness, remains haunting nevertheless.

Venue: 45downstairs, 45 Flinders Lane, Melbourne VIC 3000

Dates & Times: Nov 25, 27, 29, Dec 1, 4, 7, 9, 7.30pm / Nov 26, 8.30pm / Dec 11, 3pm / Dec 3, 10 4pm

Prices: Preview $43, Full $50, Concession $45, Group 8+ $43, Double Bill $80 (with The Gathering)

Tickets: www.fortyfivedownstairs.com , (03) 9662 9966

Image by James Terry Photography

Musical Theatre, Review, Whats On

RL Productions Presents REEFER MADNESS

Satirical cult show challenges modern audiences

By Myron My

Reefer Madness was originally a 1939 film intending to dissuade youth from smoking cannabis and highlighting the risks linked to this “pastime”. In 1999, Kevin Murphy and Dan Studney opened their musical version of the show in Los Angeles and 17 years later it is being presented by RL Productions, and the entire time watching, I’m sorry to confess I just kept wondering – why?

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While I understand the tongue-in-cheek humour and the satirical nature of the cult show, I simply cannot find any laughs in rape or domestic violence narratives. I will admit that I am not familiar with the film and unsure to what extent it makes these references, but stating women will be raped if they are stoned and watching a female character being physically and verbally assaulted by a male – and played for laughs – is not on. Yes, you can argue that it was in the musical’s book (from 1999), but these issues are so problematic for today’s audience that I felt this production needs to consider and address this in some way.

It is said that Murphy and Studney wrote the first song for Reefer Madness in under five hours, and for me, it shows. The lyrics are simple and obvious, and many of the songs themselves feel more like filler than actually showing us something more of the characters or situation. So “The Brownie Song”, “Romeo & Juliet “and “Lonely Pew” failed to engage me in any way, but that said, under the able musical direction of David Wisken, there are some great songs in there as well, including “The Orgy” and “Listen To Jesus, Jimmy”, in which the performance by Ed Deganos is just brilliant. The choreography by Yvette Lee is also quite noteworthy here and the use of the ensemble in all the musical pieces is well thought-out.

There are some scenes in Reefer Madness that are genuinely entertaining, such as when Jimmy takes his first hit and the penultimate scene in the reefer den. The intelligent direction by Stephen Wheat and lighting design by Jason Bovaird (in particular during the latter scene) was quite effective in creating some emotion from the drama and chaos that was being acted out.

The entire cast is full of energy and committed to their roles, but with all the characters being very one-dimensional I found myself struggling to care for them. Rosa McCarty however, as Mae, has some great moments on stage and manages to bring life to a character that could easily have become another cliché. James Cutler is also great as The Lecturer, bringing laughs to some very dry material with some comedic good timing and body language.

In 1999 Reefer Madness may have had its cult fans and garnered some favourable critical reviews, but for me, in 2016 – and in Australia – this is just a dated and troubled musical that has no redeeming history or context here. There are certainly some laughs to be had, but I was ultimately left mystified as to the reasons for choosing to put on such a show.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Season: 4 December | 7:30pm Tue- Sat, 6pm Sun
 Tickets: $49 Full | $55 Conc
Bookings: Chapel Off Chapel

Cabaret, Review, Whats On

Chrissie Shaw in BIJOU: A Cabaret of Secrets and Seduction

Musically delightful

By Myron My

We’ve all made choices in our lives or been in situations that we’ve lamented over. In Bijou: A Cabaret of Secrets and Seduction, we are taken back to 1933 and into Bar du Papillon, where Bijou shares her memories of secrets, sorrow and love through story-telling and song. 

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Chrissie Shaw has selected a variety of songs and music authentic to the era and her voice perfectly encapsulates the emotions experienced with each song, from anger to sadness to joy. While I don’t understand a word of French, when Shaw breaks into her vocals throughout the show, her body language, facial expressions and tone still allow the meaning behind the song to be conveyed. Accompanying Shaw on piano is the highly talented Alan Hicks, who plays – and sings – with aplomb and is very much at ease in his interactions with the audience.

However, Bijou’s recollections of important moments of her past that feature in her story-telling unfortunately failed to leave a similarly strong impression on me. I was often left unsure what the story was or unable to see how this fit into the bigger picture. I found it very difficult to find empathy for Bijou and the humour didn’t always hit the right mark with the audience.

While the direction by Susan Pilbeam is engaging and active, the constant walking and performing up and down the aisle in the space  – which caused audience members in the front rows to constantly turn around – started to wear thin. Bijou’s intention in thus interacting with the audience may have been to build a stronger relationship and affinity with us, but ultimately it came across as rehearsed rather than genuine.

Sadly, my experience watching Bijou: A Cabaret of Secrets and Seduction left me feeling rather disappointed no real secrets had been divulged and very much unseduced by the life of Bijou. While the songs and music are entertaining and enjoyable, it seemed to me the heart of this performance is yet to be found.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 27 November | 7pm 
Tickets: $32 Full | $28 Conc 
Bookings: The Butterfly Club

Review, Theatre, Whats On

Western Edge Presents CALIBAN

Dynamic and captivating

By Leeor Adar

The culturally diverse Western Edge Youth Arts’ Edge Ensemble under the directorship of Dave Kelman and Tariro Mavondo delivers a spirited, vibrant and painfully accurate adaptation of William Shakespeare’s The Tempest with Caliban.

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Who is Caliban in this tale?

We are not dealing with a deformed witch’s son, but a native of an island, which carries the spirit of his mother – all mothers – in the sand, air and water. The Edge Ensemble’s Caliban (Oti Willoughby) is every pure thing, every angry living thing that despises the poisons inflicted by civilisation on the natural world.

In this tale Prospero is Prospera (Natalie Lucic), and Ariel (Piper Huynh) is a machine, not spirit, that can think up realities to save the planet from global warming and other ills that contribute to the inevitable downfall of our world. But Prospera needs capital. Propera needs wealth. Prospera’s adopted daughter, Miranda (Achai Deng), is shipped off with billionaire Afghani, Ferdinand (Abraham Herasan) for a better life, a life of opulence, but little freedom and incredible isolation. It is ironically a lonely and uncertain life at the top of the world, but all is not lost.

Caliban tackles big ideas with humour and poignancy. This is a remarkable and highly physical performance delivered by an ensemble with differing physicality. The performers are excellent, emotive, funny and totally humane. So much of the story told is delivered by this troupe through their bodies, and they each deliver something unique. Credit must be given to movement director, Amy MacPherson, who has successfully conjured the best of the cast. The set design by Lara Week, who previously worked with Mavondo in Greg Ulfan’s 3 Sisters, provides yet another bright and adaptable space that works well for the performers. Turquoise cylinders serve as podiums, seats, towers, and the ever-present reminder of man-made waste.

There is at the heart of this story a great longing for a home that is being stolen by land erosion and war. On one hand our lovers, Ferdinand and Miranda, each long for their homes, Afghanistan and the Sudanese Abyei Area, each torn, each broken by the worst of human nature. On the other, Phano (Rexson Pelman) longs for a Samoa with an uncertain future, and Caliban for his island home – two examples of the fate rendered by the hands of global warming, another ongoing man-made calamity.

The tragedy of our characters is that they each seek to do well, but fail fundamentally on their quest. It is deeply Shakespearean, but simply a timeless tale of humanity. Prospera is blinded by her mind, Ferdinand by his desire for respect, and Caliban by his anger. Their undoing is deeply psychological and a result of the previous ills of man-made affliction. And so is the cycle of human nature…

Caliban will be showing for its final night tonight, November 26 at 7pm at the Coopers Malthouse Theatre. Bookings: http://malthousetheatre.com.au/whats-on/caliban

Image by Nicola Dracoulis

Festivals, Whats On

Poppy Seed Festival Presents LADYCAKE

Inventive, outrageous, and entertaining

By Myron My

When you hear the quote, “Let them eat cake”, you can’t help but think of Marie Antoinette. Interestingly enough, there is no official account of the lady ever having said this, and most facts point to it being almost impossible for the phrase to have been coined by her. Performed as part of the Poppy Seed Festival, LadyCake looks at the life of Marie Antoinette through the eyes of three of her handmaidens and how there is much uncertainty on what is fact and what is fiction when it comes to the last Queen of France.

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The three performers, Candace Miles, Madelaine Nunn and Anna Rodway – who also created the story – seem to relish playing the three handmaidens, and to be having real fun in messing with history in such a macabre and ostentatious way. While set in the 18th century, the script includes references to modern innovations – such as the internet – darkly reminding us that despite the centuries, the roles women play in society have not changed that much. This is further highlighted in the scenes where they each play Marie’s disapproving mother Maria Theresa, and the general population who slowly began to turn against the Queen.

Anastasia Poppenburg creates an opulent world in a highly simplistic style with bright pink and green fabrics on display, and luscious trees and plants lining the garden where the handmaidens spend their time gossiping. The eventual downfall of the Queen is signified in a bold and devastating manner and the ensuing final moments of LadyCake shows how idle gossip easily becomes confused with fact while also showing the ludicrous expectations that women have to face in a patriarchal society, both then and now.

Furthermore, Lucy Wilkin‘s garish costumes of large pink froufrou dresses and big blonde poufs perfectly encapsulate the absurd demands these women are meant to adhere to, not only in their service to their Queen, but to society in general.

Three Birds Theatre have come a long way since their 2015 Fringe Festival show, Three Birds One Cock, which looked at the female characters of Alfred Hitchcock’s films. While LadyCake could do with some tightening of the script with scenes that played out too long or just felt unnecessary, there is huge potential for this innovative company to generate a strong reputation for itself and its unique brand of theatre.

Venue: Trades Hall, 54 Victoria St, Carlton
Season: until 27 November | Tues – Sat 8pm, Sun 4pm
Tickets: $35 Full | $25 Concession
Bookings: Poppy Seed Festival

Image by Sarah Walker

Review, Theatre, Whats On

Malthouse Theatre Presents BLAQUE SHOWGIRLS

Truly outstanding

By Caitlin McGrane

Nakkiah Lui’s searing portrait of white Australia’s treatment of Aboriginal people, Blaque Showgirls, is vital viewing for all white people. In this production, Lui does not shy away from intensely uncomfortable subjects, but her punchlines always hit their target.

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The show opens as Sarah Jane (Bessie Holland) starts performing her signature dance, the Peking Emu on stage in Chithole, Queensland. Sarah Jane is a white-skinned ‘blaque’ girl who dreams of making it as a dancer at the famous Blaque Showgirls show in Brisvegas, just like her mother. With a voice that could shatter glass, and dance moves that would not be out of place in any reputable club in Melbourne, Sarah Jane is unceremoniously booed offstage. Sarah Jane makes the journey to Brisvegas to begin her journey to stardom, where she meets the amazing Chandon (Elaine Crombie), Kyle McLaughlan (Guy Simon), and Molly (Emi Canavan). Chandon and Kyle are the owners of Blaque Showgirls, the best and toughest show in town; Molly meanwhile is Sarah Jane’s Japanese sidekick who gets continually cut off when she’s talking. As Sarah Jane (aka Ginny) begins to work on her dancing with TruLove Interest (spelling: uncertain, Guy Simon) she starts to discover her true culture through the ‘Sacred, Sacred Really Sacred Dance’ (never-before-seen).

By the end of the performance my face hurt from laughing so much. Director Sarah Giles has worked magic with Lui’s exceptional script, and with it the duo has delivered something truly outstanding – the production perfectly skewers Australia’s bonkers and backwards attitudes to race and cultural appropriation, while Ginny continues to wreak havoc and destruction on the lives of those around her, her life continues to get better and better. Even finding out the truth about her past fills her with unconscionable optimism.

The production is completed with wonderful set and costume design from Eugyeene Teh, lighting design from Paul Jackson, composition & sound design from Jed Palmer, and movement direction from Ben Graetz. The team obviously have a tremendous passion for the subject matter, which left me deeply sympathetic to the tiny bumps in the production, which should be ironed out once the cast gets further into the show’s run.

There is so much more I wish I could say about Blaque Showgirls, but you should just go see it, especially if you’re white.

Blaque Showgirls is now on at the Malthouse until 4 December 2016. More information and tickets at: http://malthousetheatre.com.au/whats-on/blaque-showgirls

Image by Pia Johnson