Category: Whats On

Cabaret, Festivals, Whats On

MICF 2016: A NIGHT AT JAVA JOE’S

A one-man open mic night!

By Narelle Wood

Set in the iconic San Diego coffeehouse Java Joe’s, musician and comedian Broni brings to the stage a cast of characters the typify the diversity and eclectic mix of performers on an open mic night.

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Broni plays all the characters from the host Jimmy to disgruntled employee Clare, to creepy Kenny Deez, to George, an old-timer still coming to terms with losing his dear wife Betsy. Each character has a story to tell and a song to sing that embodies their life experiences and personality. While there is a range of musical genres, including something that sounds reminiscent of Norwegian heavy metal band Lordi, most of the songs have a Country and Western lilt to them. And this seems to work, as most of the characters tend to be moaning about small annoyances rather than anything overly significant.

It is clear that Broni has a great voice and is a talented musician. The audience laughed consistently throughout and sounded like they were having a great time, but I felt like I was missing something, an in-joke that no one cared to explain. The jokes were mostly observational but I found myself more smiling in agreement than laughing out loud, which was more disappointing than usual because there is something completely endearing about Broni that made me want to find the jokes funny.

The range of characters were great but I was expecting more exaggerated personalities: all of it was just a little too close to home to be overtly funny; for instance Kenny Deez is a serious sleaze. It also didn’t help that the times Broni approached some audience members for some interaction but received very little from them saw the energy falling momentarily before he was able to turn it around.

The premise for A Night at Java Joe’s is an interesting one and certainly matched with an audience member who understands his humour, this would be a great fun performance. I would have quite happily settled back and listened to Broni play the guitar and sing all night. It’s an enjoyable show, and worth going for the music with some comedy on the side.

Venue: The Improv Conspiracy Office Space, 19 Meyers Place, Melbourne

Season: Until 3rd April, Thurs-Sat 6.45pm, Sun 5.45pm

Tickets: Full $15| Conc $10

Bookings: http://www.comedyfestival.com.au/2016/season/shows/a-night-at-java-joe-s-broni

Cabaret, Festivals, Whats On

MICF 2016: VELVET

Sparkling and sexy disco cabaret

By Bradley Storer

Even before the show began, the atmosphere at the opening night of Velvet was electric. Upon entering, the audience was immediately drawn into the hedonistic disco era through the beats being spun out by music director Joe Accaria on the deck above the stage. The opening image was stark and sudden – centre-stage, a young innocent-seeming man (Brendan Maclean), ukulele in hand and unsure of himself, drawn into the seductive world of a Studio 54-esque dance party filled with bright lights and sequins, the quintessential ‘Boogie Wonderland’, bringing us along with him like Alice down the rabbit hole.

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Velvet is not a traditional narrative theatre piece, but rather a variety-show combining music, song, fabulous costumes and incredible acts of acrobatics and aerial feats, held together by the Dionysian atmosphere of classic disco and the incredible charisma of the performers. After the opening Mirko Kockenberger launched us into the spirit of evening with an wonderful character act that combined acrobatics and strip-tease, channelling a sexy and cheeky energy that provoked the audience into a near frenzy.

Fellow acrobats Emma Goh and Stephen Williams would each have their own moments to shine across the rest of the evening, with amazing aerial acts that combined both of their talents, a highlight being their S&M-themed ballet in the air. Performer Craig Reid was quite possibly the biggest scene-stealer of the night: as a short chubby man dressed in sequined lycra, he was not the traditional image of burlesque glamour. But he wowed the audiences with such stunning hula-hoop skills and an impish and utterly joyful magnetism that you couldn’t help but watch him every second.

From the moment Marcia Hines, as the disco ‘fairy godmother’ of the evening, steps onstage she completely commands the audience. She takes centre stage and tears through numbers like ‘Never Knew Love Like This Before’ and ‘It’s Raining Men’ with such authority that you want to bow down before her. Hines is backed up by two wonderful singers, Chaska Halliday and Rechelle Mansour, who dance up a storm and send chills up your spine with their vocals in their own songs.

Maclean as the young man whose journey and transformation loosely ties the show together is completely charming, with a wonderful and emotive voice that truly comes into its own during the show’s more emotional moments. His blossoming into a fabulous disco creature of the night allows him to unleash his own wild stage presence that burns just as bright as that of Hines.

A daring attempt to fuse elements of cabaret, circus and burlesque, Velvet is a massive success, creating a spectacular world that thrills at every moment and is infused with such glamour, sex and excitement that you just want to visit it again and again!

Venue: The Merlyn Theatre, Malthouse Theatre, 113 Sturt St, Southbank

Dates: 23rd March – 17th April

Bookings: Ticketmaster.com.au

Image by Daniel Linnet

Review, Theatre, Whats On

Melbourne Shakespeare Company’s A MIDSUMMER NIGHT’S DREAM

Thoroughly won over

By Caitlin McGrane

A Midsummer Night’s Dream was the first Shakespeare play I studied at school, and thus while it holds a special place in my heart, certain scenes are forever etched into my memory. As the Melbourne Shakespeare Company’s production got underway, I was sceptical whether the blend of contemporary music and iambic pentameter were going to be a match. I needn’t have worried, as the performance rolled steadily onwards, and the actors became more comfortable in their roles, I felt completely at ease with the way the story was being told; the audience was in safe hands.

Melbourne Shakespeare Company's A Midsummer Night's Dream.jpg

For the uninitiated, the play entwines the stories of two groups; the Lovers: Hermia (Christina Forrest) and Lysander (Khrisraw Jones-Shukoor), Helena (Alisha Eddy) and Demetrius (Charlie Sturgeon); and the Players: Bottom (Johnathan Peck), Flute (John Reed), Quince (Ben Frank Adams), Snout (Ben Noel Adams), Snug (Nick Murphy) and Starvelling (Myles Tankle).

Hermia and Lysander are forbidden to wed, so flee Athens, hotly pursued by Helena and Demetrius. While fleeing they wander into a forest bewitched by faerie King Oberon (Steven Fleiner) and Queen Titania (Angela Lumicisi), with help from mischievous Puck (Paul Robertson). There’s magic potions, asses heads and lots of shouting about love as the magical beings play with the lives of the mere mortals, meanwhile the players are rehearsing the play Pyramus and Thisbe to perform at Theseus (Karl Sarsfield) and Hippolyta’s (Madi Lee) wedding. Confused yet? You should be.

As an ensemble the cast was great, I was initially wary of the players’ boisterous gallivanting and gadding about, but by the end of their first proper scene together I couldn’t wait for them to reappear. I was particular impressed by Johnathan Peck’s unique and profoundly physical take on Bottom as a sympathetic but emotionally fragile simpleton, and I need a GIF of him performing the death scene from Pyramus and Thisbe to play on a loop at my funeral; I laughed so much I cried and am still laughing thinking about it now. Christina Forrest’s Hermia was similarly energetic and gravity-defying, which helped prevent the inherently dialogue-heavy play from getting bogged down in its own trickery.

I enjoyed the silly playfulness that director Jennifer Sarah Dean has brought to the play, although moments of the Pyramus and Thisbe performance would benefit from tightening to avoid relying too heavily on slapstick. Designer Simon Bowland has done an excellent job with costumes and make-up (faeries looked suitably bedazzled), but it did look like Oberon had wandered out on stage in his dressing gown and slippers and didn’t quite match the majesty of Titania – if this was a deliberate move then I’m afraid it was lost on me. Save for a few moments where the play sagged towards the end after all the frenetic activity, it was thoroughly good fun.

Beautifully nestled in Testing Grounds just behind the Arts Centre, City Road and the Southbank apartments provided a peculiarly complementary backdrop for this contemporary adaptation of a true classic.

A Midsummer Night’s Dream is playing at Testing Grounds twice each day on 26 and 27 March 2016. Tickets available from: http://www.testing-grounds.com.au/calendar?view=calendar&month=March-2016

Musical Theatre, Review, Whats On

The Royal Shakespeare Company Presents MATILDA THE MUSICAL

Simply spell-binding

By Narelle Wood

I had heard from some theatre-going friends that Matilda was a sight to behold, a musical experience like no other. They were right; I don’t think there is a word that completely encapsulates the sheer brilliance of this musical.

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The musical is based on the famous Roald Dahl children’s book. Matilda (Ingrid Torelli on the night attended), a bright child with a strong sense of fairness and justice, is born into a family that doesn’t appreciate her, and to make matters worse must suffer the tyranny of the head mistress, Miss Trunchbull (James Millar). Thankfully Matilda finds solace in her books and stories as well as friends such as Mrs Phelps the librarian (Cle Morgan), Violet (Kathleen Lawlor) and Miss Honey (Elise McCann).

Under the direction of Matthew Warchus the acting, timing and use of stage melds into a seamless and flawless performance; and this was the first preview. There are so many standout performances in this show that it is difficult to name them all. The performances of Daniel Frederiksen, Marika Aubrey and Daniel Raso completely personify the hideous Wormwood family. Millar doesn’t overplay Trunchbull so the character is a believable albeit caricatured evil head mistress and Torelli is faultless in her portrayal of Matilda.

The adult ensemble was also brilliant, transforming from the adult parts to the big kids at school with ease. The kid ensemble was simply astonishing; the future of musical theatre in Melbourne is definitely safe if the talent of these kids are anything to go by. Daniel Stow who played Bruce Bogtrotter with awesome skill, delivered some of the best comedic moments.

Dennis Kelly’s adaptation is so intelligently written that it not only captures the humour and satirical nature of Roald Dahl, but also hints at some of Dahl’s more subtle social commentary. Comedic musical mastermind Tim Minchin is responsible for the music and lyrics, and each song precisely captures the moment and the character’s personality but often in entirely unexpected ways, with a mixture of humour, sentimentality and irreverence. The orchestration (Christopher Nightingale), choreography (Peter Darling), set (Rob Howell), illusions (Paul Kiev)and lighting (Hugh Vanstone) are amazing; such a sleek use of staging and such clever use of all the theatre tricks and techniques to make the magic of Matilda a reality.

There was not one aspect of this show that I did not enjoy, and not enough superlatives to praise it all. I laughed so much I cried, and so many of the musical numbers gave me goosebumps. If that wasn’t enough, it finished off with one of the most fun encores I’ve ever seen. I have never seen anything quite like Matilda. I’m going again; in fact I would have stayed on the night for an encore performance of the entire show.

Venue: The Princess Theatre, Spring St, Melbourne
Season: From March. Wed & Sun 1pm, Sat 2pm. Wed to Sat 7pm, Sun 6.30pm
Tickets: Starting from Full $85| Conc $69
Bookings: au.matildathemusical.com/tickets/tickets/

Image by Manuel Harlan

Review, Theatre, Whats On

Helen Yotis Patterson’s TAXITHI

Moving portayals of resilient Greek-Australian women

By Myron My

Inspired by her grandmothers, Helen Yotis Patterson has compiled a number of stories of Greek women who migrated to Australia in the 1950s and 60s. While the narratives and their characters are often filled with hope and excitement for a better life, they are sometimes met with disappointment and frustrations. Despite this, the women presented in Taxithi (Greek for ‘journey’) are fiercely strong and determined.

Taxithi

The impressive cast – Maria Mercedes, Artemis Ioannides and Helen Yotis Patterson – bring much honesty with their portrayals of these women. While some stories are taken directly from Yotis Patterson’s family history, the cast are clearly poignantly connected with all the experiences that are played out. There are well-crafted moments throughout, including Mercedes’ emotional lament at missing her mother’s final moments as she traveled back to Greece and Ioannides’ striking performance as a young bride who find herself in an arranged marriage.

The music is one of the strongest elements of Taxithi. Musical director, arranger and pianist Andrew Patterson has captured the era perfectly along with Jacob Papadopoulos‘ masterful bouzouki playing. During the musical moments, the three women’s voices elicited strong emotive responses from the audience, to the point where even my non-Greek speaking friends were able to feel what was being sung. John Ford and Rachel Burke‘s lighting design and Darius Kedros‘ sound design, while both minimal, are still highly effective, especially in the evocative opening moments with the sound of waves crashing in the ocean, making you feel as if you yourself are on the ship travelling to Australia.

Towards the end of the performance, I admit I did feel the stories started to become slightly repetitious, with quite a few revolving around young girls immigrating to get married. Had Yotis Patterson perhaps narrowed the quantity of stories and explored her powerful themes even further, this repetition would have been resolved and the emotional connection with the characters could have been even stronger.

However, at a time where we are denying people entry into our country who are trying to escape persecution from their own, Taxithi serves as a telling reminder that “letting people in” is not a bad thing and only allows our lives and culture to become richer. Furthermore, the journeying tales of Taxithi teach us to always remain resilient and to fight for what we want in life, and that is something everyone can strive towards, regardless of sex, gender or race.

Venue: fortyfive downstairs, 45 Flinders Lane, Melbourne
Season: Now until 24 March, then 5-10 April | Tue- Sat 7.30pm, Sun 5pm
Tickets: $45 Full | $35 Conc
Bookings: fortyfive downstairs

Image by Sarah Walker www.sarahwalkerphotos.com

Events, Theatre, Whats On

REVIEW: Sly Rat Theatre’s A MIDSUMMER NIGHT’S DREAM

A truly wonderful evening of entertainment

By Margaret Wieringa

Cancel your plans, pack a picnic and get yourself to Pipemaker’s Park. This is a show that you won’t want to miss – and if that hasn’t sold you, it’s free!

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In case you don’t know, A Midsummer Night’s Dream is a Shakespearean comedy, set in Athens one hot summer’s night. There are characters in love and characters betrothed and characters running away, and then the faeries and the like get involved, and things go crazy. Ultimately, the perfect play to watch as the sun sets in a beautiful Australian park.

The Pipemaker’s Park is a place that has been let got for a long time; walking from the carpark, you pass some ugly concrete and rusted fences. Director Alan Chambers and playwright Andy Harmsen have clearly drawn inspiration from these contrary surrounds, with the central feature of the set a rusted old pickup truck beneath a most beautiful and expansive tree.

And then the cast arrive – it was like Elizabethan Mad Max, a dystopian future-feel with ripped clothes and skinheads and a bit of ‘Am I Ever Going to See Your Face Again’. I cannot praise the cast enough. They were just fabulous – to a tee. Even the smallest role was filled with humour and delightful little quirks. As always, Puck was the favourite of the crowd – Brendan Ewing played the cheeky fawn with perfect comic timing, slipping through the crowd on the most mysterious stilt/legs. I want to go on about all of the performers, although space won’t permit – the wonderful lovers played with so much humour by Katharine Innes, Hannah Bolt, Letitia Sutherland and Seton Pollack; the hilarious Mechanicals lead by Jimmy James Eaton as Bottom. Just brilliant.

A couple of things for your comfort – plan a little. Bring a blanket and a jumper and maybe a picnic (though there are snacks, including a delicious smelling BBQ). And if it looks like the weather may turn, don’t cancel your plans – there is an undercover area where the show can move if need be. We were very lucky – there were a few drops of rain, but once some umbrellas were handed out, the rain stopped.

This was truly a community event – the audience was full of families and kids, couples and people on their own, young and old. It was a lovely feeling, and in a delightful park that I had not until this night even known existed.

Where: Pipemaker’s Park, The Living Museum of the West, Maribyrnong
When: 63:0 pm February 19th, 20th, 21st, 26th, 27th and 28th
Tickets: Free! Just arrive, spread out your blanket and enjoy!

http://www.slyrattheatreco.com/

Review, Theatre, Whats On

REVIEW: Louris Van De Geer’s TRIUMPH

Real stories of problematic victims

By Myron My

In defiance of its title, Louris Van De Geer’s Triumph is a trilogy of thematically linked and emotionally disturbing stories that explore people’s desire to connect with others. With Triumph, Van De Geer confirms why she was named as one of Melbourne Writers Festival’s ’30 under 30’ best young writers. Bringing her words to life are a talented and dedicated cast of five – Aljin Abella, Syd Brisbane, Anouk Gleeson-Mead, Emma Hall and Leone White – who irrespective of being the main character of one story or the supporting role with thirty seconds of stage time in another, ensure that their characters consistently retain depth, authenticity and real humanity to them.

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The first story takes inspiration from Tania Head, a woman who revealed she survived the Twin Towers from the 78th floor of the World Trade Centre. Head went on to become president of the World Trade Centre Survivors’ Network support group and spent countless years helping survivors heal. However, in 2007, it was revealed that Head wasn’t even in America at the time of the attacks but had fabricated her entire story. White convincingly brings out the conflicting nature of this woman who on the one hand is compassionate and empathetic, but on the other, is duplicitous and manipulative. Director Mark Pritchard does a great job with utilising the entire space available and ensuring that everything that happens on stage has the audience’s attention, to the point where I was so transfixed by what was going on centre stage that I almost missed a pivotal scene occurring simultaneously side of stage.

The second piece has Hall and Gleeson-Mead playing a mother and daughter, with the daughter sick in hospital, unknowingly a victim of Munchausen by Proxy. As with the first piece, Van De Geer’s writing style ensure that we are drip-fed pieces of intriguing information that keeps us constantly wondering what exactly is going on, until suddenly it is made clear. The complexity of the desire to be needed is explored quite effectively to the point where you’re not quite sure how to feel by the time this story concludes. There are some strongly nuanced performances by Hall and fourteen-year-old Gleeson-Mead, as they explore this unique mother-daughter relationship.

The third story, based on suicide pacts in Japan, shows two strangers meeting up who have decided to end their lives together. Abella and Brisbane are very relaxed with their characters and their interactions with each other feel quite natural given the circumstances they find themselves in. Romanie Harper‘s set design is at its best with this story, with a number of ominous-looking trees seemingly enveloping the two men. Amelia Lever-Davidson‘s lighting design further enhances the darkness and loneliness, which is brilliantly encapsulated with an evocative final scene.

Triumph is a dark look at how we are constantly looking for connections to other people, even if it is through tragedy or deceit. While the stories do not all have a neat resolution with everything explained, Van De Geer’s thought-provoking script allows you to come to your own conclusions as to how we should regard these people. When you get right down to it, we are all just looking for a purpose for existing, no matter how misguided we may be in finding that purpose.

Venue: fortyfive downstairs, 45 Flinders Lane, Melbourne
Season: Until 28 February | Tue- Sat 7.30pm, Sun 3pm
Tickets: $35 Full | $28 Conc

Bookings: fortyfive downstairs

Image by Sarah Walker

Musical Theatre, Review, Whats On

REVIEW: StageArt Presents SATURDAY NIGHT FEVER

Step back in time!

By Deborah Langley

The date is 1976 and Brooklyn heart-throb Tony Manero is a young man with an extraordinary ability to dance. Stuck in a dead-end job he has only one ambition in life – to become the disco king.

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StageArt’s West End revival production of Saturday Night Fever transports us to the heart of the disco era designed to make you want to jump out of your seat and start dancing!

Starring Mike Snell (Strictly Ballroom, Wicked, Legally Blonde, The Boy From Oz), Sheridan Anderson (West Side Story, Pippin, Our House) and Elise Brennan (Jersey Boys, Guys and Dolls) this production brings to the stage everything you loved about the movie, the music and the decade.

But, as director Robbie Carmellotti says, ‘It is easy to think of Saturday Night Fever as a fun night out with great Bee Gees hits’ – not this production, however. After a bubble-gum style Act 1 which has you moving and grooving, Act 2 reminds you that the 1970’s wasn’t just about great songs and fashion.This show also poignantly explores dark topics such as rape, suicide and racism with a punch that leaves you mesmerized.

Thus Bobby’s (Dean Schulz) version of “Tragedy” allowed me to really hear the words for the first time and be completed engrossed in the heartache which can strike any of us.

Other standout moments included Annette’s (Brennan) heartbreaking rendition of “If I Can’t Have You, I Don’t Want Nobody, Baby”, an amazing dance-off with stunning acrobatics during “You Should Be Dancing” and an exceptional STOMP-type version of “Boggy Shoes”.

The famous music really is the star of this show, musically directed by Tony Toppi, with outstanding choreography by Luke Alleva and a strong ensemble: in particular Alexia Brinsley, Cassie Miller, and Paul Watson (Once, Jersey Boys, Fiddler On The Roof) whose performance as DJ Monty was spot-on and his guitar-playing amazing. Ten more of the cast members brought music to the stage playing live instruments, but unfortunately on the night attended, many of these performances fell flat with poor sound quality – a huge distraction which undermined several numbers.

Nevertheless, this otherwise spectacular new production is a must-see for any fans of the film, the music or the era!

Saturday Night Fever, 11-28 February 2016 at Chapel Off Chapel, 12 Little Chapel Street, Prahran.

Times: Tuesday – Sunday, 7.30pm; Saturday & Sunday, 1.30pm matinee

Bookings:  8290 7000.  www.chapeloffchapel.com.au

Image by Belinda Strodder photography

Review, Theatre, Whats On

REVIEW: Nice Productions Presents THE BOYS

Strong attempts to tackle a difficult play

By Myron My

Survivors of domestic violence and violence against women come from all walks of life. The crime does not discriminate, but what do you do when your son or your boyfriend commits a heinous violent act against another person? Do you call the police, or do you turn a blind eye?  In Gordon Graham‘s highly acclaimed play, The Boys, these themes are explored through the eyes of the female figures in the perpetrators’ lives.

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Linda Cookson does a magnificent job in her portrayal of Sandra, the matriarch of the family. All she wants is to have her three sons together and everything she does is done out of a mother’s love for her children. There are moments where Sandra is in scenes where she is in the background as conversations happen around her, yet you can always feel what she is thinking and trying to push the troubling thoughts away with how her facial expressions and body language is conveyed.

However, many of the difficulties I had in otherwise ascribing to the play’s dialogue came down to the rest of the casting and as a result, I felt the tension and suspense of the script was not able to be fully appreciated. Rebecca Fortuna and Heidi Lupprian (Michelle and Jackie) work powerfully in their scenes together and with Sandra, yet there was a strong lack of chemistry between each of their characters and their respective partners, Brett and Glenn. Michael Shanahan and Ben Taylor (Brett and Glenn) both showed promise but I feel that they needed to get further inside their characters to show them as complex and fully fleshed-out people rather than just a familiar stereotype. Unfortunately Malachi Grimsley and Lucy Orr as Stevie and Nola seemed to be somewhat miscast, as I found neither actor was able to convincingly portray their respective characters.

The stage design has a good level of authenticity and is quite befitting of the Sprague family. The backyard is set towards the front of stage and decorated with milk crates, an esky of beer and the ground scattered with rubbish and stray grass. A door leading towards the back of the stage takes you into the lounge room decorated with two sofas, magazines, clothing and a number of family photos and other items.

Luci Kendo‘s direction ensures that all the space available is utilised to permit the characters to explore the space and express themselves further. However, there were a few moments where conversation took place with one character “outside” and another one as they were walking from “inside” the back of the house into the “outside”, which seemed a little clumsy.

The Boys is a confronting piece of theatre on domestic violence and violence against women. While this is loosely based on true events from the 1986 murder of Anita Cobby, the play reminds us that domestic violence can affect anyone, even the central women within the Sprague family. They may be aware of their loved ones’ guilt, but these women have been – to an extent – broken down into defending the men they fell in love with, with seemingly no other option. With suitable casting and a deeper examination of the characters, I feel certain this could have proven to be a highly affecting production.

Venue: Gasworks Arts Park, 21 Graham St, Albert Park, 3206
Season: Until 20 February | Wed – Sat 8pm
Tickets: $33 Full | $25 Conc
Bookings: Gasworks Arts Park

Review, Theatre, Whats On

REVIEW: MTC Presents LUNGS

Quite breathtaking

By Michael Olsen

Take a deep breath and plunge into the Australian premiere of Lungs this season at Melbourne Theatre Company. Written by award-winning British playwright Duncan Macmillan this 90 minute two-hander (without interval) charts the life, death and (re)birth of a modern relationship. Funny and real by turns, and quite touching in the end, it charts what happens when we start to question our lives and our effect on the planet.

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The play opens in an IKEA store, as the unnamed man gingerly suggests to his unnamed partner that they have a baby. Well, the floodgates of anxiety, doubt and interminable analysis are opened (she’s doing a Ph.D, we don’t know in what) and we bear intimate witness to their attempts to make sense of themselves and their relationship, all starting from the effect one baby would have on the planet. (I forget how many trees they would have to plant to mitigate their offspring’s carbon footprint.) We are made to feel like a fly on the wall of these characters’ lives as they search for meaning and answers where perhaps only faith of a kind will see us through.

Kate Atkinson (of Wentworth and Sea Change fame) and Bert LaBonté (Mountaintop among many others) deliver powerhouse performances in this single almost unbroken dialogue that carries us through the ups and downs of this couple’s relationship. Whilst we might not get the answers to all the problems they face, it’s this very questioning that helps propel the play forward. Director Clare Watson‘s direction is slick and sophisticated, always keeping the myriad changes in time and place clear and immediate. Whilst Andrew Bailey‘s set design (an IKEA kitchen that imperceptibly rotates a full 360º and lets gravity slowly toss the kitchen’s chair, books and cutlery like a tumble drier) conveys the idea of the couple’s life going topsy-turvy as they explore the intricacies of their relationship, it’s also a mite distracting, but really a minor criticism in an overall production that grabs you right from the start and doesn’t let up.

Lungs was something Macmillan wrote as “a challenge and a gift for actors.” In presenting the problems and challenges of its characters, it’s also a gift for the audience. Showing until 19 March at the Arts Centre Melbourne, Fairfax Studio.

http://www.mtc.com.au/plays-and-tickets/season-2016/lungs/