Category: Whats On

Musical Theatre, Review, Whats On

REVIEW: GEORGY GIRL – The Seekers Musical

New musical relives the making of Aussie music history

By Amy Planner

The Seekers are an Australian icon of the 1960s music scene and they have finally been recognised the way any great stars should – by being further immortalised on stage. Georgy Girl is the vibrant new stage musical story of The Seekers’ rise to fame.

Georgy Girl - The Seekers Musical photo credit Jeff Busby.JPG

When a young insecure Judith Durham joins a folk group for a night, little did she know her life would change forever. Along with Athol Guy the business-minded bass player, Bruce Woodley the keen songwriter and Keith Potger the lady-loving guitarist, they became The Seekers. This musical follows their journey from a local club in Balwyn, Victoria, to the world’s stage and back again.

The casting of this historical musical was superb; the combination of Pippa Grandison as Judith, Phillip Lowe as Keith, Mike McLeish as Bruce and Glaston Toft as Athol could not have been any better. Their spectacular performances were only topped by their musical talent and ability to move so easily from song to song. Grandison has a wonderfully full and versatile voice, stealing the stage with her rendition of “Mamma’s Got The Blues” in Act Two.

Being opening night and a world premiere there were bound to be a few glitches here and there. There were just a few clunky scene changes and a few slight harmony issues, but they are sure to be ironed out with a few more shows. Luckily, there was also  an abundance of very upbeat dancing from the impressive ensemble that kept everyone thoroughly entertained.

Unfortunately the big stylistic change of Judith at the end of Act One was rather uneventful; a famous number like “Georgy Girl” in a show called Georgy Girl should surely have elicited a little more pizzazz. The second act, however, dealt with many more emotional tragedies the band had to face. This handling of this was very delicate and respectful, giving emotional heaviness where due and light-hearted moments when possible. It took a really expressive cast, fine scripting and a well-balanced production team to make these scenes as poignant as they were.

Isaac Lummis has done a sincerely unique job of the costuming for Georgy Girl. The outfits are original and distinctive: it took a truly creative eye to collate so many vibrant and stylistic patterns and shapes so successfully.

The musical team Stephen Amos and Stephen Gray deserve much praise for their work with the cast in bringing The Seekers to life in theatre. The intricate harmonies and beautiful voices would not have sounded so authentic and appealing without their guidance and skill.

The audience at this premiere were luck enough to be graced with a cameo from the real Seekers themselves,  who walked the red carpet and joined the cast on stage at the end of the show. The crowd was delightfully surprised as the quartet took their bows in front of a standing ovation.

This appealing new show highlights a truly exceptional moment in Australia’s musical history and will be a delight for those long-serving and new-found Seekers fans.

Venue: Her Majesty’s Theatre, Exhibition Street, Melbourne.
Season: 22nd December – 21st February, Tues 7pm, Wed 1pm/7pm, Thurs 8pm, Fri 8pm, Sat 2pm/8pm, Sun 3pm.
Tickets: From $60
Bookings: ticketek.com.au

Image by Jeff Busby

Dance, Review, Whats On

REVIEW: Chunky Move Presents MISS UNIVERSAL

Excellent components strive to be whole

By Caitlin McGrane

I walked out of Miss Universal and needed quite a while to process what I had seen. When I walked into the performance space I was instructed to ‘interpret it’ in any way I wanted. Speaking to other audience members they were similarly told that there was no wrong place to stand but if you happened to be in the wrong place you would be moved along by the performance: all very mysterious and contemporary. The performance was innovative, eclectic and unlike anything I had seen in a dance performance: it was well conceptualised, directed and choreographed by Atlanta Eke, who also performed alongside Annabelle Balharry, Chloe Chignall and Angela Goh.

Miss Universal.jpg

The performances were excellent and I found myself variously moved, bemused and amused throughout. The trouble was for me that the work did not hang together as a coherent whole; this may not have been the intention in the first place but what it meant for me was that while there was nothing boring about the performance itself, I found myself eventually bored. I think the performance works best if you think about it as a series of visual vignettes rather than holding a narrative or theme through the performance. Chunky Move’s performance space was utilised well, and the performers demonstrated exceptional agility and versatility as they manipulated levels and the traditional space between performer and audience.

The lighting, designed by Matthew Adey from House of Vnholy, lit the space in a sickly hue that exposed imperfections on everyone’s skin, lending an ‘other worldly’ quality to the show. This ethereal quality was enhanced by the excellent and jarring score from composer Daniel Jenatsch.

Overall I really wish Miss Universal had resonated more with me, but other opinions are available and I would encourage those who appreciate contemporary dance to experience it for themselves.

Miss Universal is now showing at Chunky Move until 12 December 2015. More information and tickets from: http://chunkymove.com.au/our-works/current-repertoire/miss-universal/

Cabaret, Review, Whats On

REVIEW: Anne Gasko in WHEN I GROW UP

Charming, clever and well-crafted cabaret

By Narelle Wood

When I Grow Up is a truthfully whimsical trip down memory lane when adulthood seemed so simple and anything was possible. Anne Gasko, in her one-woman cabaret show, asks all the important questions about what growing up really means and if being an adult means giving up on the dream of owning a unicorn.

When I Grow Up.jpg

Through the combination of song and stand-up Gasko begins with her young and impressionable childhood where eating sprinkles for every meal was an acceptable dream and making friends was as simple as identifying one, potentially tenuous, similarity. Gasko contrasts this with the awkwardness and self-consciousness of making friends as an adult. This is just the beginning of stories of growing up and the harsh realities of grocery shopping, paying bills and growing boobs, and the effects of watching too much Disney on your relationships.

Gasko’s performance is both endearing and edgy; her comedy starts in seeming innocence but as the performance continues, it becomes increasingly more adult and a little bit angsty. The combination works, and much like growing up you come out the other side relatively unscathed at the humorous reminiscing. The song component of the cabaret are well selected, reworded, and just as well performed: Gasko’s rendition of “I Want to Hold Your Hand” was captivating. The only disappointment was that the show didn’t seem to go for long enough and I left wanting more. All of Gasko’s humour hit the mark and it was easy to identify with her observational comedy.

While Gasko does lament the difficulty of making friends with the cool crowd, everything about her performance oozes cool. This a short but sweet way to spend some time having a chuckle at the naivety of childhood and the difficult, but mostly awesome journey, into adulthood.

Venue: The Butterfly Club, Carson Place
Season: 7pm until 29th November
Tickets: Full $32 | Conc $28
Bookings: thebutterflyclub.com/show/when-i-grow-up

Circus, Events, Whats On

REVIEW: NICA Presents BORN IN SAWDUST

Wonderfully engaging

By Narelle Wood

This year’s National Institute of Circus Arts graduating artists perform Born in Sawdust, an insight into the world of circus performing and the trainers behind the performers.

NICA-Born-In-Sawdust

Inspired by former trainer Kostya Ibraguimov, and the stories and dedication of other trainers and mentors, Born in Sawdust follows one circus performer’s dream to one-day work for the famed Monte Carlo Circus. Director Gavin Robin showcases the vast and impressive talents of many of NICA’s graduating students, as artists use trapeze, tumbling, high wires, and some clowning around to add light and shade to this intriguing story.

The performance focuses on the characters portrayed by Adam O’Connor-McMahon, Elke Uhd and Simone Salle, as they form a family within the larger circus family. O’Connor-McMahon is charming; there is something completely endearing about his performance throughout the entire show, regardless of the skills (and there are many) that he is showcasing. While Uhd’s performance of strength and balance on the Cyr Wheel received “wows” from the audience members around me, I couldn’t help but smile at Salle’s joyous, and occasionally insolent, performance as the Fat Clown. The group ensemble work was also impressive, the drunken slapstick tumbling of the Bar Scene looked like the sort of party that everyone would want to be a part of.

But it wasn’t just the story and the skills of these circus artists that made this performance so interesting. Born in Sawdust also makes use of digital projections, provided by students, under the guidance of coordinator Lisa Robins, from Swinburne University of Technology’s Advanced Diploma of Screen and Media. Live performers, live shadows and digitally projected shadows intermingle to provide the most captivating silhouettes and narrative device.

Despite the incredible strength and skill of circus artists, I often feel anxious when watching circus performances, but that was not the case this time. Born in Sawdust took me along on the journey through the sacrifices, injuries, hard work and jubilation of following a dream to join the circus. It is an enchanting circus tale told with just the right mix of heartbreak and humour.

Venue: NICA National Circus Centre, 39-59 Green St, Prahran
Season: Until 28th November, Wed-Sat 7.30pm, Sat matinee 1.30pm
Tickets: Full $36| Conc $29
Bookings: www.nica.com.au

Cabaret, Circus, Comedy, Whats On

REVIEW: BRIEFS

Erotic, erratic and glorious entertainment

By Myron My

For those who have an immense fear of audience participation, this show could possibly be your worst nightmare. But for those after some sexy excitement and fun, then look no further because Briefs has got you covered – or uncovered as the case may be.

Briefs

Formed in Brisbane, this all-male boylesque group has spent the last year travelling around Europe performing sell-out shows to rave reviews. Melbourne finally gets its turn to revel in the skill and beauty on stage in a stunning show that is not to be missed.

All the performers – Shivannah, Captain Kidd, Dallas Dellaforce, Thomas Worrell, Evil Hate Monkey, Lachy Shelley and Louis Biggs – possess a strong sexual confidence among them, which is imperative when your acts revolve around you wearing minimal clothing (and sometimes nothing at all). They also happen to be highly talented individuals and while the show is heavily structured and choreographed, there is a naturalness to their performances that allows for spontaneity and surprises for both themselves and us. There is moreover a brilliant mix of variety in the acts and they are so well paced that the ride we are on never stops being enjoyable.

Worrell’s aerial hoop and silks routines are simply breathtaking to watch. There is an erotically-charged energy to him as he ties himself in knots and contorts his body into some impressive poses while swinging from the hoop. Biggs’ circus acts and his cheeky smile are the epitome of naughty fun and the personas he takes on are executed extremely well. His mischievous high-school student act remains a highlight of the evening.

Evil Hate Monkey’s banana is a touch of comedy genius and had everyone in fits of laughter. Even with the common equation of banana as penis, there is a freshness and daringness to this act. Las Vegas King of Burlesque 2011 Captain Kidd and his famous birdbath act is a sight to behold and the less said about it the better; but it is an incredible finale to an incredible evening.

It’s been a while since Briefs has graced a Melbourne stage and you would be utterly mad if you missed the opportunity to see this seductive burlesque-cabaret-circus glitter explosion!

Venue: Athenaeun Theatre, 188 Collins St, Melbourne.

Season: Until 5 December | Tues – Sat 7:30pm

Tickets: $52.81 Full | $47.71 Conc

Bookings: Ticketek

Review, Theatre, Whats On

REVIEW: MTC Presents BUYER AND CELLAR

Here’s what Barbra keeps in her basement…

By Caitlin McGrane

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

Buyer and Cellar

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

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

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

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

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

Review, Theatre, Whats On

REVIEW: Platform and Straightjacket Productions Presents SOMEONE LIKE THOMAS BANKS

What we dare and defy defines us

By Myron My

Meet Thomas Banks: he is 24, gay and single – but hopefully not for too long. He also lives with cerebral palsy. Beginning as a short piece in 2010 that has since been developed to this full-length and predominantly one-man show, Someone Like Thomas Banks focuses on Bank’s own experiences with online dating, hook-ups, and not only discovering his own voice and identity but holding on to it.

Someone Like Thomas Banks

Banks uses a variety of cleverly executed multimedia tools to share his story, such as projected text, a Lightwriter, animation, social media and pre-filmed segments. The projections of closing doors throughout the show speak volumes as to the rejection that Banks faces in his want for love. At another point, an audience member reads out Banks’ experience of being bullied as a student on the school bus. As this is happening (and in relation to the story), Banks augments the narrative by walking around the stage dropping coins on the floor, clearly showing his resilience and determined nature.

Banks depicts a number of relationships to show the various sides of his personality. Scenes with his psychologist provide the opportunity for Banks to share intimate moments of his life, while the conversations with his mother show his vulnerability and loving nature. Despite the story being a little repetitious during the first half of the show, its use of different media and contexts prevents the audience from ever feeling the pace is slowing down.

Bank’s personable nature and outgoing manner shine throughout, especially when he greets each of the audience “volunteers” with a hug and a selfie. However, when he delves into darker territory, and sometimes unexpectedly so, our instinct is to dwell on that and wonder how he overcame such adversity. Banks chooses not to focus on these stories any longer than necessary though, and moves on to better things, as if to emphasise bad things do and will continue happen, but these moments only define us if we let them.

Someone Like Thomas Banks is not about a gay man living with a disability looking for love. It is a story about a someone like all of us, looking for love, looking to connect with other people. It is a well-crafted and appealing reminder to enjoy the life we have, to take chances, and have fun with everything we do. We should all be fortunate enough to have the outlook in life of someone like Thomas Banks.

Venue: fortyfive downstairs, 45 Flinders Lane, Melbourne

Season: Until 8 November | Wed- Sat 8:00pm, Fri 10am, Sat-Sun 5pm

Tickets: $40 Full | $20 Conc

Bookings: fortyfive downstairs

Image by Gemma Osmond

Review, Theatre, Whats On

REVIEW: Little Ones Theatre Presents DRACULA

Bloody and beguiling

By Myron My

Little Ones Theatre is back with bite in their nearly all-female, silent production of Stoker’s classic 1897 gothic horror story Dracula. It is a brilliant homage to previous cinematic adaptations of the novel, with nods to Bela Legosi, Gary Oldman and Catherine Deneuve, while also including the company’s trademark exploration of sexuality and queerness.

Dracula - Amanda McGregor and Zoe Boeson -photo by Sarah Walker

The seductive Dracula is ‘brought to life’ by Alexandra Aldrich and Catherine Davies, with Davies playing a more youthful transformation of the bloodsucker. As one expected with films made during the silent era, on-screen performances need to be more emphatic and expressive, and on stage, Aldrich and Davies (like the rest of the cast) do not falter. Under the strong direction of Stephen Nicolazzo, their movements and actions are large and telling while still maintaining a menacing air of mystery around Dracula.

Janine Watson as Jonathan Harker, Mina Murray’s fiancé, who in turn is the obsession of Dracula, convincingly shows the emotional turmoil her character goes through, beginning with his initial hapless meeting with the Count. The only male cast member, Kevin Kiernan Molloy certainly nails it (so to speak) as vampire hunter Van Helsing. Molloy portrays him with much bravado and machismo as here to save the day, but ultimately it is he who poses a threat to those around him; intriguing in this case, he is shown to be the destabilising force.

All the various stage elements of this production seamlessly come together and work extremely well in supporting each other. Katie Sfetkidis‘ dramatic lighting design is a highlight with some memorable moments created from its play with darkness and shadows. Along with Daniel Nixon‘s original score, the emotion of both music and light heighten the tension as the story builds to its climatic conclusion. The sparkling all-black stage design by Eugyeene Teh paired with Tessa Leigh Wolffenbuttel Pitt’s and Teh’s mostly black-and-white costume designs pay further homage to the silent film era.

The Little Ones Theatre‘s winning streak of creating unique theatrical experiences therefore continues here with this production of Dracula. While we may be familiar with the gothic and erotic nature behind the famous story, the striking camp and queer elements the company explores ensures that this retelling retains a high level of surprises and entertainment for audiences.

Venue: Theatreworks, 14 Acland St, St Kilda

Season: Until 14 November | Wed- Sat 8:00pm

Tickets: $35 Full | $25 Conc

Bookings: Theatreworks

Image by Sarah Walker

Review, Theatre, Whats On

REVIEW: Avid Theatre Presents TENDER

Abandonment, emotion and mystery unfold

By Myron My

We all love, have loved and have lost: these are the times where we are at our happiest, but also then our saddest and most vulnerable. But when you open up to someone and plan a life together, what happens if your partner strangely disappears and you have no memory of what happened? Presented by Avid Theatre and written by Nicki Bloom, Tender is a tale of moving on when it seems impossible to do so.

Tender

The past/present/future structuring of the narrative is used effectively with scenes shifting adroitly between before the event, the night of the event and after the event. This gradually provides pieces of information to the audience to draw us into the unfolding narrative, and also shows the characters in different and revealing lights. This in turn builds on the intense emotional states explored throughout Tender, which would prove challenging and rewarding roles for any actor to take on.

Unfortunately on the evening I attended, Tania Knight and A.J Steele as Sarah and Michael never seemed to quite grasp the complexity of their characters, especially with the difficulties of Sarah. This was their preview night so understandably, nerves may well have been the cause here, but I felt there were not enough nuances in their respective characterisations and the ensuing lack of chemistry between the two resulted in lessened emotional investment for me in the audience. Hopefully the actors can find that spark as the season progresses, as there is certainly potential there. On the other hand, Josie Eberhard and Peter Hatherley’s portrayals as Yvonne and Patrick are highly convincing as the desperate parents trying to find out what happened to their son. Theirs is a very natural and instinctive dual performance that resonated strongly.

Despite its compelling premise, the prose of Bloom’s script is quite difficult to connect with its constant shift between full sentences and natural conversations to rapid firings of short incomplete dialogue. For most of the show, I felt this prevents the characters from coming across as real people going through a genuine loss, which was an additional pressure for the performers. Many scenes are also question after question, and while I don’t expect everything to be revealed, it is frustrating when you can’t even have one answer.

Tender is an ambitious piece of theatre, both in its writing and in the demands on the actors. While the promise of these  aspects in this preview performance from Avid Theatre is not quite there, as the actors become more comfortable with the text and each other, I am confident this will improve greatly.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 25 October | Thur – Sat 7pm, Sun 6pm
Tickets: $32 Full | $28 Conc
Bookings: The Butterfly Club

Review, Theatre, Whats On

REVIEW: Melbourne Writers’ Theatre Presents THE MELBOURNE MONOLOGUES

Six glimpses into secret lives

By Margaret Wieringa

Melbourne Writers’ Theatre has been around since the early eighties, with a vision of developing Australian plays and playwrights, and The Melbourne Monologues is part of their annual Page to Stage season. Six monologues were featured, performed by five actors, all directed by MWT Resident Director and Dramaturg Elizabeth Walley.

Melbourne Monologues

Each monologue was extremely different to the others, yet there were some strong similarities; damaged people, often putting on a strong face to the world whilst things fall apart behind. At times, the performances could have used more space to let the drama of each situation settle. Certainly, each performer captured a particular essence of the character and while no character was totally lovable, the audience was on the side of each and every one. Christine Croydon’s take on Post Traumatic Shock Disorder in returning soldiers, with Alec Gilbert as the soldier attempting to settle back into civilian life, churned from calm and almost collected to explosive outbursts of distress and anger. Similarly, I’m a Certainty by Bruce Shearer had Sean Paisley-Collins, a wannabe winner lurching from affable and hopeful to aggressive and pained.

Lost saw Miliyana Cancar playing a somewhat undefined character who seemed to be totally in control and yet without any power at all, and it seemed the ambiguity in the writing allowed Cancar to take the character wherever she wanted. Many of us have experienced the Cry of a Forgotten Woman – whether it be dementia, or abuse, or simply age and incapacity, the plight of the aging woman is often ignored, and it was curious to see Brenda Palmer play a woman who celebrated both the good and tragic parts of her past.

It is always a challenge to have a character that is quite unlikable pluck at our heartstrings. Carmen Saarelaht has written a woman who has a powerful husband and stands by his side, regardless of her regrets. Carolyn Masson played up both the strengths and flaws of the character, but for me she took the night with her delivery of her final line.

The evening was rounded off with the humorous I Love You, written by Neil McGovern. Alec Gilbert returned to the stage rapidly firing lines through a wire door to a mysterious, unseen character who he both loved, yet could not let in.

It’s important to support these emerging and established playwrights, and I looked forward to seeing where their future endeavours take them.

Where: The Carlton Courthouse Theatre
When: Tuesday October 20 – Sunday October 25
Tickets: $20-$25
http://www.trybooking.com/Booking/BookingEventSummary.aspx?eid=156074