Category: Whats On

Review, Theatre, Whats On May 9, 2016May 9, 2016

Twelve Angry Presents [LADY] MACBETH

Exceptional

By Narelle Wood

Fires burn and cauldron bubbles as Lady Macbeth and Macbeth cause political and murderous trouble. In Twelve Angry‘s latest production, the infamous Scottish play is retold in an intriguing and thought-provoking way.

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Macbeth, full of deep and dark desires, with more than a little encouragement from his loving wife Lady Macbeth and the three weird sisters, sets his sights on ruling the land. Not prepared to leave his future status to fate, Macbeth takes matters into his own hands, and as is the case with any Shakespearean tragedy when the natural order is disrupted, the body count is high.

The usual emphasis, at least in the versions I have seen, is Macbeth’s slow decent into madness. But director Fiona Spitzkowsky takes a different tack, placing Lady Macbeth at the centre of Scottland’s chaotic state. The result is a refreshing interpretation of Macbeth that I had never considered but is by far the most beguiling I have ever seen. The weird sisters are reinvented with a ‘mean girls’-style friendship between Lady Macbeth, Lady Banquo and Lady Macduff. Macbeth seems a little more unhinged than usual and Lewis Macdonald plays Macduff with an aggressive side that has not been so evident in any of the other incarnations I’ve seen.

Ultimately what makes this reinvention work is the exceptional cast. Alice Marks is the strongest Lady Macbeth I’ve ever seen. It’s not overplayed; Marks is both sinister, sexual, mischievous and guilt-ridden all at the same time, even drinking from a goblet in a menacing manner. Marks is complimented by Victoria Mantynen and Anne Lumsden as Lady Banquo and Lady Macduff respectively, who both bring a complexity and depth to two minor characters who could otherwise be fairly easily dismissed. Charlie Craig’s Macbeth is easy to dislike; weak, aggressive and arrogant, in this version he is no longer the tragic hero corrupted by power. It is worth making the time to see these actors strut and fret their hours upon the stage.

There was not much that I didn’t like in this production. The main issue was outside ambient noise, which made the actors, especially during more quiet times, a little hard to hear. The soundtrack and singing that accompanied the play was both haunting and evocative, and the candlelight created an appropriate eerie feel. Impressively the candle on our table faded just as Macbeth finished his lamenting comparison between the brevity of life and the burning of a candle; I like to think this was intentional.

400 years after Shakespeare’s death it would seem impossible to give such a well-known classic tale a fresh retelling. This has instantly become my favourite interpretation of [Lady] Macbeth.

Venue: Tuxedo Cat, 293 Latrobe St, Melbourne
Season: 11-13th May, 7.30pm
Tickets: Full $25| Conc $15
Bookings: twelveangry.tumblr.com

Musical Theatre, Review, Whats On May 9, 2016May 9, 2016

Doorstep Arts Presents DOGFIGHT

Brave cast and company grapple with Pasek and Paul musical

By Myron My

Dogfight, based on the 1991 River Phoenix film, revolves around the actions of three marines on their final night in a small town in 1963, just before they are to be deployed to Okinawa, and then on to Vietnam. While the trio come from seemingly similar backgrounds, they are friends bound by circumstances of war. Over the course of this night, these bonds are tested, especially when Eddie meets the naive and innocent Rose.

The original production of Dogfight, with book by Peter Duchan, premiered in New York in 2012 and won the Lucille Lortel Outstanding Music Award as well as being nominated for a number of others. However, so much of the show feels outdated, and unfortunately there is nothing new or especially engaging being offered by this story – whereupon even those who are not familiar with the film itself can see exactly how things are going to pan out.

The score by Benj Pasek and Justin Paul is fresh and fun to listen to, and under the capable musical direction of Trevor Jones here, the highly talented five-piece band brings their work vividly to life. The lyrics however were a disappointment. They felt clumsy and uninspired, and didn’t really offer much insight to the characters’ thoughts that wasn’t already evident from the book. The strongest numbers are the opening song, “Some Kind of Time”, “Come to a Party” and “Pretty Funny”, the latter finally allowing us to feel what the characters really were.

Alexander Woodward tackles the difficult role of Eddie, whom the audience must somehow simultaneously like, while being repulsed by his actions. Unfortunately, the journey Eddie goes on did not feel fleshed out enough here, and as such, prevented the complexities required of this problematic character to come through on opening night. The changes and realisations he has never seemed to come from a place of understanding and growth and ultimately felt forced. However, Woodward certainly generates some nice moments in his scenes with Olivia Charalambous (Rose), and the duration of their date beginning at the restaurant until their farewell encompasses some of the best moments in the show.

Charalmbous has a great energy on stage and her renditon of “Pretty Funny” was a touching and genuinely emotional scene. Jaclyn DeVincentis adds some excellent comedic timing in her portrayal of Marcy and the honesty with which she plays her is warm and well-grounded, so it’s a shame (but understandable given the role) that she did not have more time on stage. The ensemble are full of vigour, and the choreography by Leanne Marsland brings forth the bravado and aggression we can see would have been rampant during that era.

It’s great that Doorstep Arts are willing to champion lesser-known musicals, and Dogfight does endeavour to look at marine life and how young men’s lives were and are forever changed by needless war. While there were strong performances in this ambitious production and good musical numbers, at 2.5 hours long I admit though that I expected richer character development and a more engaging book from an award-winning work.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Season: 15 May | Mon- Sat 8pm, Sat 2pm, Sun 5pm
Tickets: $49.90 Full | $44.90 Conc
Bookings: Chapel Off Chapel

Dance, Festivals, Whats On May 7, 2016May 7, 2016

Next Wave Festival 2016: UNDER MY SKIN

Evocative dance work about communication, connectivity and hidden selves

By Myron My

Presented as part of the 2016 Next Wave Festival, Under My Skin is a new dance/performance piece that explores how we choose to present ourselves to the world and to consider the things we prefer not to reveal. However, what makes Under My Skin stand out from any other show is that the company behind this, The Delta Project, use both deaf and hearing dancers in its productions.

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With that in mind, there are visual and lighting cues for the four dancers (Anna Seymour, Amanda Lever, Luigi Vescio and Elvin Lam) to follow, but there were no discernible moments where I was able to notice these occurring, as all the dancers seemed to be intensely in tune with the movements of each other and of their own bodies. There was a definite sense of trust among them, which allowed the emotive choreography by Jo Dunbar and Lina Limosani to work so well among the dancers and make their performances all the more powerful.

The four begin huddled together in a tight embrace while new media artist Rhian Hinkley‘s projections of images of the dancers’ faces are displayed on the wall behind them. With the dancers positioned directly in front of the projection, parts of the images appear on them, creating an unsettling feeling: a sense of vulnerability and dependency. Gradually, they break apart into their own space, but throughout the performance they always remain connected in some way, either literally or figuratively.

There is an interesting montage at one point where the expression “clothes make the man” came into mind, with Vescio standing in the middle of the stage with the other dancers circling around him, adding selected items of clothing or accessories to his body one at a time. Vescio would take on personas and continue to evolve and change with every item taken and added, playing with the idea of how easy it is to change how the outside world perceives us through our appearance and actions. However, the moments where the large rectangular boards are pushed around the stage by the dancers, whilst creating an effective black and white visual, were ultimately distracting, taking me out of the emotion with which I was trying to remain engaged.

Under My Skin is an adventurous dance production that definitely pays off for company co-founders, Seymour and Dunbar. While there are moments that were more difficult to engage with than others, it is a great example of how being accessible doesn’t mean losing creativity or lessening the experience for all involved. Hopefully with this show, The Delta Project will inspire other companies and theatre makers to make shows that are accessible to both diverse audiences and diverse performers.

Venue: Arts House, 521 Queensberry St, North Melbourne, 3051

Season: Until 8 May | Sat 7pm, Sun 2pm and 6pm

Tickets: $28 Full | $23 Conc

Bookings: Next Wave Festival

Image by Pippa Samaya

Musical Theatre, Review, Whats On May 7, 2016May 7, 2016

LITTLE SHOP OF HORRORS 2016 Australian Tour

Merrily macabre and highly enjoyable

By Ross Larkin

A highly experienced pool of theatre royalty has taken on the ambitious task of staging a touring production of musical cult favourite, Little Shop of Horrors, which opened last night at Melbourne’s Comedy Theatre. Thankfully, their obvious efforts have largely paid off.

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Based on the quirky 1960 film by Roger Corman of the same name, Little Shop is a rare example of classic screen translating to the stage almost seamlessly, and at times, with superior effect, largely thanks to the tenderly appealing tunes of Alan Menken and Howard Ashman (ably musically directed here by Andrew Worboys).

Virtually entirely set in a failing, divey florist in urban Skid Row, goofy employee Seymour Krelborn acquires a strange breed of plant during a full eclipse, which he christens Audrey II (named after his colleague with whom he is romantically enamoured). Seymour soon discovers Audrey II can not only speak to him, but also requires a diet solely of human blood in order to survive. Seymour begins to attract media attention and fame as the intriguingly disconcerting Audrey II grows bigger and bigger while locals simultaneously disappear mysteriously…

Esther Hannaford, of King Kong fame, steals the show as Seymour’s love interest, Audrey. Her understated, eccentric and loveable performance is coupled with powerhouse vocals of seemingly effortless range. Brent Hill as Seymour, and also the voice of Audrey II, gave a solid performance, as did supporting actors Angelique Cassimatis, Josie Lane and Chloe Zuel as Crystal, Chiffon and Ronnette respectively.

The ever-growing, oversized fly trap that became Audrey II was extremely impressively created by puppet-makers Erth and manipulated with a cleverness that must be seen in order to be believed. Accomplished director Dean Bryant has, on this occasion, excelled. Bringing a small cast and this massive puppet into force with enjoyable laughs and great songs, Bryant’s direction both visually and content-wise is innovative and satisfying.

Although the energy of some cast members did waiver on occasion, no doubt the pace and punch will pick up for the entire ensemble as the run progresses. Overall, this a strongly recommended feast of sinister fun and entertaining black comedy.

Presented by Luckiest Productions and Tinderbox Productions, Little Shop of Horrors is playing now at the Comedy Theatre, Exhibition Street, Melbourne until May 22nd with a variety of dates and showtimes. Go to http://www.littleshoptour.com.au/ for tickets and more information.

Image by Jess Busby

Cabaret, Review, Whats On May 7, 2016May 7, 2016

Daniel Tobias in THE ORCHID AND THE CROW

A warm and witty look at life and brush with death

By Myron My

Our twenties are generally spent figuring out who we are and what we want to get out of life. At 29, Daniel Tobias just wanted to live. Diagnosed with stage-four testicular cancer, with stage five being death, Tobias faced a long and scary battle, and despite the cancer having spread to his abdomen, lungs and neck at one point, it has been a battle he has been winning for the last twelve years. In The Orchid and the Crow, Tobias retells significant moments from this experience through a variety of songs, music and performance.

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From the instant he appears on stage, it would be hard not to like Tobias. He is very affable and while there is a cheeky grin to him, there is also a vulnerability that he displays to the audience. Moreover, the show’s constant dynamic style and story switching – from a rock song about his parents falling in love to a retelling of how he was diagnosed to even an ode to his fallen testicle in Italian – keeps his audience engaged the whole time.

In the early part of the show, Tobias focuses on his “religious” upbringing: being an atheist Jew who ate bacon and celebrated Christmas. There are some light-hearted moments but with the well-placed hospital curtains as stage backdrop, there is a distinct sense of something looming. Given the show’s premise, it’s of course no surprise what this is. However it still feels like a bomb has been dropped when his story reaches his diagnosis, upon which the latter part of the show focuses.

Tobias raises some interesting points about life and beliefs, but after that dramatic turning point in the narrative, I felt that there needed to be a stronger link or call back with the initial religious aspects of his show. Furthermore, while the Italian song is executed brilliantly with the projected animations and surtitles, I wonder if it could have had even more impact had it been sung in Hebrew and thus tie in better with the story.

It feels wrong to say I enjoyed The Orchid and the Crow, given the nature of the show and the experience that Tobias has had, but it is enjoyable, and is a testament to his performance and writing skills that there are plenty of laughs to be had. It may even be the reminder call you need to re-evaluate what is important in your life, regardless of how old you may be.

Venue: Theatreworks, 14 Acland St, St Kilda

Season: Until 15 May | Tues – Sat 8:00pm, Sun 5pm

Tickets: $35 Full | $25 Conc

Bookings: Theatreworks

Review, Theatre, Whats On May 4, 2016May 4, 2016

Red Stitch Presents THE RIVER

Deceptively simple fable runs deep

By Myron My

A Man, a Woman, a cabin and a lot of fish. This is the set up for Red Stitch’s latest production and the Australian premiere of Jez Butterworth’s The River. The story is quite straightforward, with The Man bringing The Woman to his cabin to go fishing, but the performances and technical aspects present allow for a deeper understanding of what it means to be loved and to be deceived.

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It’s been over a year since I saw Dion Mills in another fantastic Red Stitch production, Wet House, and with The River, Mills again shows his powerful ability not only to get inside his characters’ heads but to be able to so with apparent ease. Apart from his skill in masterfully gutting a fish, Mills’ The Man is a fine balance of masculinity, fragility and mystery and his naturalistic portrayal of him makes this character seem all the more tragic.

Ngaire Dawn Fair as The Woman is the perfect counterpart to this Man, adding a level of energy and liveliness to their relationship. Her discovery of the deceit is quietly heartbreaking as it plays out with subtlety and nuance. The Other Woman however (played by Christina O’Neill), lacked the depth of these characters and, perhaps also by necessity, was missing the chemistry that Mills and Fair shared on stage.

John Kachoyan‘s elegant direction adds to the unease and melancholy of The River. While the entire story is set within the confines of the cabin, you can’t help but feel that the world outside is slowly drowning these people. There’s a sense of timelessness in the movements: nothing feels rushed or frenetic inside the cabin, and the only real moment of drama occurs while out by the river – although we only hear about this. The previously mentioned scene with The Man preparing the fish for dinner speaks volumes to the confidence that both Kachoyan and Mills have in keeping the audience transfixed over such simple stage action for such a period of time, and in ultimately making this one of the most memorable moments of the show.

My only gripe with an otherwise absorbing story is the lack of payoff I experienced, come the end of The River. Even with Christopher De Groot‘s compelling music and sound design and Clare Springett‘s adroit lighting adding highly emotional layers to Butterworth’s script, I left feeling dissatisfied, like something had been missed. I needed more to happen in this narrative: to feel something that would then linger deep inside me as I left the theatre, to be affected by what had happened to these people. The strong efforts of all involved in this production still make this production well worth seeing, but unfortunately for me, it’s in the play’s close that The River seems to get bogged down.

Venue: Red Stitch Actors Theatre, 2 Chapel St, St. Kilda.
Season: Until 28 May | Wed- Sat 8:00pm, Sat 3:00pm, Sun 6:30pm
Tickets: $45 Full | $28-35 Conc
Bookings: Red Stitch Actors Theatre

Review, Theatre, Whats On April 30, 2016April 30, 2016

Play Dead Theatre Presents TAPE

Close and claustrophobic thriller leaves nowhere to hide

By Amy Planner

Tape is a psychosomatic spectacle that pushes the boundaries of friendship and discovers there is always more than one truth when it comes to the past. Filled with about as much psychological drama as one hour can handle, Stephen Belber‘s one-act play throws you in the deep end and doesn’t apologise.

Set in a cheap motel room in Michigan, Tape examines the dramatic reunion of three high-school friends as they cross paths and reminisce about the seemingly unfortunate past. Vince is the drug-pushing truth-seeker with a broken heart; Jon, the moral filmmaker with an ostensibly immoral history; and Amy, the high-powered attorney with no time for games – well, mostly. When these high-school chums are reunited, their memories of the past collide as they struggle with that ever-illusive truth.

Stephen Belber deserves such supremely high praise for his hauntingly real dialogue and uncanny knack for saying just enough. In a play that is so well-paced and fraught with such naturalistic dialogue, the actors were set a difficult task and they smashed it all the way down Errol Street.

Adam Hetherington held Jon to the stern and initially unwavering brutality that he deserved and then fell so far into the character that his eventual unravelling was strikingly lifelike. Michael Mack, producer and lead actor as Vince, was fantastically unsettling – that’s a good thing, I promise. He transitioned seamlessly from the witty-tongued best bud in to a hyper-anxious cokehead with a point to prove. As Amy, Hester Van Der Vyver was a understated comparison at first but grew in to a subtle, almost psychotic player in this emotionally destructive warzone.

This small cast reached in to the most deep-seated corners of their psyches and what came out of it was a truly enthralling performance with so much depth, it barely seemed like a play: rather, an eavesdrop on a vivid intimate conversation.

The only brief lapsing moment came during the fight scene; slightly clumsy wrestling proved a little too lumbering for the intimate space. However, there was a well-timed hint of comedic relief with a sort of pillow fight in the middle. But the actors and director, Jennifer Sarah Dean, should still be commended on the literal hard-hitting moments that were far too real to not leave a mark.

On entering the intimate, converted hotel room, the set seemed a little dated; however, as the play indicated, the realisation of cheap urban accommodation meant it couldn’t have been more fitting or well put together by set designer Aline Brugel.

Tape’s heaving hour of dramatic warfare doesn’t spare a moment and will have you encapsulated in its intimate intensity for every second; it is a truly unique and powerful production with talent oozing from the walls.

SHOW DETAILS

Venue: The Court House Hotel, 86-90 Errol Street, North Melbourne

Season: April 27^th – May 7^th. Wed-Thurs 7.30pm, Fri-Sat 8.00pm

Tickets: $25 Adult, $22 Concession

Bookings: www.playdead.com.au

Review, Theatre, Whats On April 29, 2016April 29, 2016

Vass Productions Presents BAD JEWS

Full of Chutzpah

By Deborah Langley

On its return season to Melbourne, I recently had the pleasure of attending opening night of the Vass Theatre Group‘s production of Bad Jews by Joshua Harmon. This relatively new play has been a smash hit in London’s West End, New York’s Broadway and indeed across America, both selling out and extending much like the product here in Australia.

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The play may be new, but it draws on very traditional theatrical methodology, throwing together some eccentric and memorable characters in a high-pressured situation in order to present some deeply-felt and complex ideas about religion and cultural heritage.

A beloved grandfather has died and three cousins (and one girlfriend) are spending the night after the funeral together in a cramped Manhattan apartment to sit ‘shiva’ with the family the next day. Close quarters, family dynamics and interesting personality clashes brings up viciously hilarious quarrels about family, faith and the legacy of the tribe as a treasured family heirloom with religious significance is up for grabs.

But who has rights to Grandfather’s prizes procession? The bossy, overbearing and fanatically religious Daphna – performed by Maria Angelico who delivers with all the annoyingly loud speed of thought that traditionally characterises New York Jews. Her wealthy cousin Liam (Simon Corfield) and girlfriend Melody (Anna Burgess) who really want to be the voice of reason but don’t stand a chance with the crazy energy of Daphna? Or Jonah (Matt Whitty) who doesn’t want to get involved?

This incredibly talented cast bring the characters to life with all the complexities that they require. Burgess’s operatic solo of Summertime has to be a standout comedy moment for me but all performers encapsulate their characters perfectly. Although I do wonder if some of the Jewish nuances were missing, as the work sometimes felt very tense, and perhaps some of the comedy was lost without these very subtle cultural timings.

Overall this is a brilliant production that crosses cultural lines, with so many similarities to be drawn between Jewish families and any close-knit clan. So if you can get past the very specific Jewish references (most of which are eventually explained) make sure you check it out before this well-deserved second season is over!

Dates: 27 April – 14 May

Times: Tue-Sat 8:00pm, Matinees: Sat 3:00pm, Sunday 1 May and Sunday 8 May 5:00pm

Venue: Alex Theatre, St Kilda

Bookings: http://premier.ticketek.com.au/shows/show.aspx?sh=BADJEWS16

Review, Theatre, Whats On April 25, 2016April 25, 2016

Nothing But Roaring Presents THE MERRY WIVES OF WINDSOR

Fast, fresh and funny – just as farce should be

By Narelle Wood

The Merry Wives of Windsor is Shakespeare, (almost) as it should be; there are minimal sets and theatre-in-the-round style seating – the only differences are modern costumes, a roof on the theatre, female actors and a One Direction reference or two.

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It’s not a play that I’m familiar with, but it follows all the main plot points of a classic Shakespearean farce that makes it instantly recognisable. The farce is based on making a mockery of John Falstaff (Tom Considine) who declares that he shall seduce not one but two of the wives of Windsor. The wives of Windsor, Mistress Ford (Carole Patullo) and Mistress Page (Helen Hopkins), upon hearing this decide that revenge through humiliation will be a befitting antidote for Falstaff’s lustful and presumptuous ways. As is the case in most Shakespearean plays, the minor characters wield havoc as they manipulate and betray each of their masters, and this results in the one not-so-merry husband of Windsor (Master Ford played by James Wardlaw) planning an entrapment of his own to prove his wife unfaithful. Meanwhile several suitors vie for Anne Page’s (Jing-Xuan Chan) hand in marriage, which adds to the intrigue as lies are told and deceit unfolds.

There is so much going on in this play, with twists in plot and a number of soliloquys and asides, that the minimalist approach of basic set and lighting is a welcomed relief. For the most part the Shakespearean language fluidly rolled off the casts’ tongues, as would be expected of actors of this calibre, but it also means that the dialogue is unapologetically fast. There is also an unexpected challenge in deciphering the Bard’s prose; Shakespearean language mixed with a Hugh Evans’ well-articulated Welsh accent made sure I was definitely concentrating on what was being said.

The actors all played multiple characters, with small costume changes signalling the character changes, and they all effortlessly morph from idiot suitor to jock-houseboy, from simple houseboy to jealous husband or whatever other transformations are required. The actors, under Rob Conkie’s direction, also make impressive use of the space; not once, even with the actors’ directing their attention to the other seating areas, did I feel excluded from the performance. The farcical nature of the plot was often reflected in the physical performances of the characters, gesticulating, groping or gyrating for humorous effect.

It’s hard to shy away from Shakespeare in a year that marks the 400^th anniversary of his death. There will be a lot of Shakespeare on offer but The Merry Wives of Windsor is an amusing tale and this production makes for a very merry evening indeed.

Venue: Fortyfive Downstairs, 45 Flinders Lane Melbourne

Season: Until Sunday 1^st May, Tuesday-Saturday 7.30pm, Sunday 5pm

Tickets: Full $38| Conc $28

Bookings: www.fortyfivedownstairs.com

Musical Theatre, Review, Whats On April 22, 2016

Pursued by Bear Presents TICK TICK BOOM

Engrossing and innovative musical theatre

By Sally McKenzie

Tick Tick Boom is a cleverly-written one act musical which beautifully illustrates the struggles of the composer Jonathon Larson (who also composed Rent) to ‘make his break’ in the world of musical theatre. In this new production presented by Pursued By Bear, I was captivated from beginning to end. I doubt you will find a better portrayal of this autobiographical piece by Larson.

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Upon entrance to ‘The Loft’ performance space at Chapel Off Chapel, we are immediately immersed in the ‘chaos’ of Larson’s musical mind as we walk on a floor covered in pages of sheet music, and are surrounded by a clutter of suitcases and neglected musical instruments randomly stacked against walls.

In the middle of this there is a floor-boarded stage, slightly raised with a piano as the centre piece. Three wooden chairs are the only other set pieces on this stark performance space. A dozen hanging exposed light bulbs also frame the space, helping to bring a distinct realism to the set.

The role of Jonathon Larson is played by Luigi Lucente. He is simply brilliant. The audience immediately empathizes with the heightened anxiety of his character and – through the passing of time (which is likened to the strict timing of the metronome) – are captivated with his journey as an artist. Lucente is compelling as he delivers his soliloquies to the audience. Through superb timing and natural alliance with the character, he is able to bring out the comedy in an otherwise ‘serious’ plot. Moreover, Lucente is perfectly cast as he also is an impressive musician/pianist and rock vocalist. His playing of the piano is interwoven superbly into the music of the show. His performance of ‘Why’ was particularly moving, and the ‘out of tune’ piano was a perfect vessel for his emotions.

Angela Scundi gives a solid performance of the role of Jon’s girlfriend Susan, and effectively doubles as other characters throughout the show. Her rendition of ‘Come To Your Senses’ was very well-received by the audience. Quin Kelly depicted the more conservative character of Michael, which was an apt juxtaposition to the spirited nature of ‘Jon’. Although his voice didn’t quite seem suited to the more contemporary style of the show, but he brought a lovely energy to the ensemble-style cast. Mitch Roberts and Rebecca Heatherington provided extra vocal harmonies for songs and portrayed their cameo roles with conviction. Their presence in the Sondheim parody ‘Sunday’ was particularly engaging.

Paul Watson’s direction is stunning and completely fitting for the venue. The multiple uses of the piano as a set piece and the ‘domestic’ lighting doubling as the perfect tools to create the needed intimacy of such a personal story are just two examples of his stylish creative choices. His ability to convey the different tensions in the space with the positioning of actors alone is impressive.

The musical direction by Jess Barlow is well-executed. Vocal harmonies are tight and the band is well-balanced with the vocalists. There was the occasional imbalance of vocal harmonies (the men sometimes overpowering the women), but this did not deter from the enjoyment of such a fabulous score.

Tick Tick Boom is playing in The Loft at Chapel Off Chapel until May 2^nd. Tickets can be booked online at http://chapeloffchapel.com.au/ticket-sales/